Zelda Dameron-
By
MEREDITH
NICHOLSON
Copyrlfbt, 1904, bT The Bobb^M.rrill Ce.
CHAPTER V'.— ( rontinued.)
Brdon m e—" Z e ld a b r o u g h t h e r
to the c u r b — ‘b u t I ’ve lo st my
Can you te ll m e ------ "
, girl ste p p e d to th e c u r b a n d de-
¡*d the e a s ie s t w a y a c r o s s tow n.
*iis sm all a n d tr im of Ilg u re an d
l,ery blue ey es.
nank you," s a id Z e ld a , a n d Zan
jed forw ard.
i are M iss D a m e ro n ," th e te a c h -
id, h e s ita tin g ly .
,/• Z elda t u r n e d to w a r d h e r In
9 been a lo n g tim e s in c e I saw
Us m any u s a d o zen y e a r s ." T h e
imlled a n d Z e ld a sm ile d , too.
|v iih I co u ld re m e m b e r. I ’m so r-
ut won’t y o u h e lp m e ? "
(was w hen y o u w e re a little g irl
I, b u t I w a s o ld e r—a n d
my
took m e to se e y o u r m o th er,
played, y o u a n d I, t h a t is, In
iard, w hile o u r m o th e r s
ta lk e d
(wore a red d r e s s a n d I th o u g h
Vere very g r a n d .”
blue ey e s w e re lo o k in g In to th e
ones. T h e re w a s a m o m e n t of
tion an d s c r u tin y . T h e n Z elda
jut her h an d .
■u are m y c o u s in . O liv e — Is It—
km?—p le a s e d o n ’t te ll m e th a t
ight!”
; th at is J u s t r ig h t."
going to t a k e y o u hom e,
If
ready to go. C o u sin O live. I’m
lost an d d o n ’t r e m e m b e r th e w ay
old m*- to go.
I t ’s so e x c itin g
g a lo n g -lo s t c o u s in !"
i M erriam d e b a te d a n in s ta n t,
ch she s u r v e y e d h e r n e w -fo u n d
doubtfully.
S he had
s ta r te d
when th e b a t t l e a t th e school
jdoor g av e h e r p a u s e . T h e re w as
se for re fu s in g . Z e ld a h a d g a th -
hp the re in s, a n d w a ite d ,
come! Z an is n ’t d a n g e r o u s —a n d
it am I.”
ank you. I’ll h a v e to co m e now
that I’m n o t a f r a id ."
¡boys lin g e re d a t a s a fe d ista n c e ,
is Zelda d ro v e p a s t th e m a t th e
several o f th e m s n a tc h e d off
raps and g rin n e d , a n d O liv e M er-
Wlled g o o d - n ig h t to th e m .
¡elda follow ed th e ro u te in d ic a t
o r cousin, s h e w a s b u s y try in g
! a lost s t r a n d o f fa m ily h is to r y
jroved elu siv e . S h e did n o t a t a ll
(ber her m o th e r ’s b r o th e r, T h o m
S he h ad n e v e r h eard h er
Jr uncle s p e a k o f th e re la tio n s h ip ,
s u rm ise d , n o w
t h a t sh e
Jt of it. th a t h e r e m u s t be a n o th
¡those b r e a k s in th e fa m ily co n -
i that h ad a lr e a d y r e v e a le d ra g
ges. It w a s g ro w in g la te , a n d
t Zan to h e r b e s t p a c e s, u n til
jtly they c a m e o u t u p o n a b ro a d
¡thoroughfare.
b e tte r,” S a id Z elda.
"I’m
! should n e v e r h a v e fo u n d th e
jit alone. I d o n ’t b e lie v e I w as
tvn th e re b e fo re . P le a s e le t m e
Vou hom e. I h a v e n ’t th e le a s t
here th a t Is, so if I ’m
g o in g
I Harrison s t r e e t ." S h e d e s c rib -
route. "Y o u ’re t a k in g a lo t of
) about m e."
It’s th e o t h e r w a y a r o u n d . I’d
aave seen th e c o u r t-h o u s e clock
¿f It h a d n ’t b e e n f o r you. A nd
f they a p p r o a c h e d a c ro s s s tr e e t,
ilda ch eck ed th e flig h t of Z an
]nt fo rw ard to se e w h e th e r th e
iaa clear— “a n d th e n " —s h e loos-
ie rein a n d t h e a n im a l sp e d fo r-
jgain—"I’v e b e e n lo o k in g a w fu l-
J for a frie n d , C o u s in O live, an d
I you!”
are k in d —b u t you d o n ’t u n d e r-
lot of th in g s ," s a id O live M e r-
“You a n d I c a n ’t be frie n d s,
^re reaso n s------ "
Jn’t care fo r a n y re a s o n s ," s a id
they’re n o t m y r e a s o n s — th e y ’re
Jeople’s! T h a t ’s o u r h o u se th e re ,
! sh ad es a r e u p a n d a lig h t is
window."
fc’t care w h a t o th e r peo p le sa y
W th in g "—a n d Z e ld a b r o u g h t
¡a stand a t t h e c u r b in f r o n t of
door.
you to s to p ------ ” b e g a n O l-
poing to s to p ," s a id Z e ld a — “to
! quite o n y o u r th re s h o ld . Z a n
(without h itc h in g , u su a lly . I ’ll
’ chances."
'on is o n ly a s t r e e t In m ln la -
poet w r o te a s o n g a b o u t it
Me it th e m o s t fa m o u s s tr e e t
L T h e h o u s e s th e re
a re
|o n e - s to r y -a n d -a - h a lf c o tta g e s ,
one of th e s e , w h ic h w a s sa v e d
Jtrusive e y e s in s u m m e r b y a
pne of h o lly h o c k s, a n d w h ich
I its b ack d o o r a t
se a so n a b le
charm ing o ld - fa s h io n e d ^ a r -
|*d Olive M e rr ia m
and
her
threw open t h e d o o r a n d Z eld a
¡into a s i t t i n g - r o o m — th e h o u se
lhall—w h ere a co a l Are b u rn e d
a g rate. T h e ro o m r a n th e
-f the h o u s e ; t h e
w o o d w o rk
the floor w a s p in e, s ta in e d
I and c o v e re d w ith ru g s m a d e
‘'Pet. a s t u d e n t la m p w ith a
Jade sto o d o n a ta b le In th e
1 the room . T h e r e w e re m a g a -
books o n t h e
ta b le , a n d
t the c o rn e rs h e ld o th e r books.
f t wom an lo o k e d u p fro m th e
' had been r e a d in g a s th e d o o r
A cane la y on th e floor b e s id e
told th e s to r y of th e lin e s of
| w face.
this is Z e ld a D a m e ro n . S h e
SJ* me h o m e ,” s a id O live.
^dn’t w a n t m e to a t all. b u t I
l*t m e," sa id Zelda, crossing
tak in g M ra Merriam**
*nan bent h e r eyea—th ey w ere
¡O live's —upon th e girl w ith a
^*tlonlng.
M argaret’s d a u g h te r—you
Danieron’s d a u g h te r," she
Wl»tful In Zt-lda’a to n e a s sh e spoke,
“
"K b eiw e e n th e firelig h t a n d th e
la m p lig h t; so m e th in g , too, in the g lan ce
of a p p e a l sh e g av e th e little room , th a t
broke dow n th e a n ta g o n is m In Mrs.
M e rrlam s eyes. S h e p u t o u t h e r h a n d
ag ain .
"Y es; I hope you will com e. W e
sh a ll be g la d to see you."
O live follow ed Z elda to th e ste p s, a n d
saw th e r u n a b o u t tu r n In th e n a rro w
.®ot „‘U., d Whlrl a w a y ' S h e w atch ed It
u n til Zt ld a ’s e re c t fig u re p assed like a
Hush u n d e r th e e le c tric lig h t a t th e c o r
n e r a n d d isa p p e a re d in to th e d a rk b e
yond.
'W h a t m ira cle Is th is ? ” a sk e d M rs.
M e rriam of Olive. "N o th in g s h o rt of a
m ira c le w ould a c c o u n t for It.”
'I m e t h e r dow n a t
th e sc h o o l-
house. S h e h ad lo st h e r w ay a n d a s k
ed m e how to ttnd Je ffe rso n s tre e t. I
called h e r by nam e—sh e seem ed to r e
m e m b e r me. a n d th en sh e In siste d un
b rin g in g m e hom e. S h e seem ed r a t h e r
p itifu l, sh e sa id sh e w as lonesom e an d
w a n te d a frie n d .”
O live s a t dow n on a sto o l a t h e r
m o th e r's feet. S he w as a f ra id to show
too m u ch In te re s t In th is n ew -fo u n d
cousin. H e r m o th e r w as c learly p u z-
zled a n d tro u b le d ; th e m o m en t w as
difficult; b u t sh e felt th a t it w a s Im
p o r ta n t to d e te rm in e th e ir f u tu re r e
la tio n s w ith Z elda D am ero n now.
"S h e Is v ery like h e r m o th er. It
g a v e m e a shock to see her. M a rg a re t
h a d th a t sa m e Im p u lsiv e w ay. In a n y
one else It would h a v e seem ed s tr a in e d
an d th e a tric a l, b u t no one e v e r th o u g h t
of It in M a rg a re t. E v e ry one a lw a y s
sa id , w h en sh e did a n y th in g a little
udd, t h a t it w as Ju s t like M a rg a re t
D am eron. Y ou” f a th e r h a d n 't a n y of
th a t ; h e w a s n 't lik e th e r e s t of th e
M e rrlam s. H e trie d to be on good
te rm s w ith E z ra
D am ero n ,
th o u g h
E z ra n e v e r a p p re c ia te d it; a n d th e r e s t
of th e m d ro p p e d us fo r c o u n te n a n c in g
him . Hu* Z eld a—w h a t do you th in k
of h e r ? ”
"S h e d id n ’t give m e tim e to th in k .
S h e c h a rm e d m e! I n e v e r sa w a n y
body lik e h e r In th e w orld. S h e h a s
su ch u n a i r of m y s te r y — th a t d o e s n 't
seem j u s t th e w ord, b u t I don’t know
w h a t to call It. S h e 's a d o r a b le ! ”
C H A P T E R VI.
R o d n ey M e rria m a n d M o rris L e ig h
ton w alk ed u p H ig h s t r e e t to th e T ip
p ecan o e C lub, w h ich o ccu p ied a h a n d
som e old b ric k m a n sio n th a t h a d b een
b u ilt by th e M e rrla m s w ho h a d a f t e r
w a rd lo st h is m oney. M e rria m u su a lly
w e n t th e r e la te e v e ry a fte rn o o n to look
o v er th e n e w sp a p e rs, a n d to ta lk to
th e m en w ho d ro p p ed In on th e ir w ay
hom e. H e b elonged a ls o to th e H a m
ilton, a m u c h la rg e r a n d g a y e r clu b
th a t ro se to th e h e ig h t o f live s to rie s
In th e c ir c u la r p la z a a b o u t th e so l
d ie rs ' m o n u m e n t a t th e h e a r t of th e
c ity ; b u t lie n e v e r w e n t th e re , fo r It
w as n o isy a n d full of polities. M any
y o u n g m en fresh from college b e lo n g
ed to th e T ip p e can o e, an d M e rriam
liked to ta lk to th e m . H e w as m ore
c o n s ta n t to th e clu b th a n M orris,
th o u g h th e y o ften w e n t th e re to g e th e r.
A n u m b e r of m en w ere s ittin g a b o u t
th e firep lace In th e lo u n g ln g -ro o m .
T h e lazy b la z in g logs fu rn is h e d
th e
only lig h t. A c h o ru s of g o o d -e v e n in g s
g re e te d th e tw o m en in u n m is ta k a b le
c o rd ia lity , a n d the b e s t c h a ir In th e
room w a s p u sh e d to w a rd R o d n ey M e r
riam .
"M r. M e rria m , C a p ta in P o llo ck ; a n d
M r. L e ig h to n .”
A y o u n g m a n ro se a n d sh ook h a n d s
w ith th e n ew co m ers. M e rria m d id n o t
know m o st of th e g ro u p by nam e. H e
h a d re a c h e d th e a g e a t w h ich it se em s
u n n e c e ssa ry to ta x th e m em o ry w ith
n ew b u rd e n s. I t w as, h e held, good
clu b m a n n e r s to s p e a k to a ll th e m en
you m e e t in a club, w h e th e r you k now
th e m o r not. T h e y o u n g s te rs a t th e
T ip p e c a n o e w e re fo r th e g r e a te r p a r t
college g r a d u a te s , Ju s t s t a r t i n g o u t In
th e w o rld a n d r e ta in in g a Je alo u s hold
of th e ir y o u th th ro u g h th e tie s of the
club.
" C a p ta in P ollock h a s b e e n te llin g us
a b o u t th e P h ilip p in e s," s a id one of th e
g ro u p . “W e 'v e been t r y in g to find o u t
w h e th e r h e ’s a n Im p e ria lis t o r how
a b o u t It, b u t he w o n 't te ll.”
T h a t sh o w s h is good Ju d g m e n t,”
sa id M e rriam .
I t sh o w s t h a t I w a n t to k eep m y
jo b ,” d e c la re d
P ollock,
c h e e rfu lly .
A nd I'll be c a s h ie re d now fo r c e rta in ,
if I d o n 't g e t b a c k to th e A rsen al. M a
jo r C o n g rle v e e x p e c ts m e fo r d in n e r.”
B ak er, w h o h a d b r o u g h t P ollock to
th e club, sh o o k h im se lf o u t o f h is c h a ir
a n d th e o th e r s rose.
I'll se e t h a t you find y o u r w ay b ack
to th e re s e r v a tio n ,” sa id B a k er.
'T h a t ’s v e ry k in d of you. A nd I ’m
g la d to h a v e m et you, M r. M e rriam ."
I t w a s a s o ft voice, a n d a s th e y w e n t
o u t in to th e h all, M e rria m looked a t
th e o w n e r of It w ith In te re s t. H e w as
su m y o u n g fellow , w ith
frie n d ly
b lu e eyes, b ro w n h a ir, a n d a slig h t
m o u sta c h e . IB s c a r r ia g e w a s th a t of
th e d rille d m a n . W e s t P o in t does not
give a d e g re e In th e u su a l acad e m ic
s e n se ; b u t sh e w rite s so m e th in g upon
h e r g r a d u a te s t h a t is m u c h m o re u s e
ful fo r p u rp o s e s of id e n tific a tio n . F ra n k
P o llo ck h a d b een th e s h o r te s t m a n in
h is c la s s; b u t h is s c a n t in c h e s w ere all
so ld ierly . T h e y o u n g m a n w ith whom
he h a d s p e n t a n h o u r a t th e T ip p e c a
noe C lub h a d b een g a th e r e d u p by B a
k er, w ho h a d m e t P o llo ck so m e w h ere
and’ ta k e n a fa n c y to h im . T h ey all
le ft th e clu b to g e th e r e x c e p t M e rriam
a n d L e ig h to n , w ho w e n t to th e n e w s
p a p er room . B u t M e rria m s ta re d a t
tb s e v e n in g p a p e r w ith o u t re a d in g It.
a n d w hen h e g o t u p to go p re se n tly , he
stopped a t th e clu b r e g is te r w h ich lay-
open on a d esk in th e h all. H e p u t on
hi* e y e -g la ss e » a n d « can n ed th e page.
T he Ink w as fresh on th e la st s ig n s -
ev ery d ay w hen It w as fa ir. H is route
w as u su a lly o u t H igh s t r e e t to w a rd th e
c o u n try ; b u t to-U ay he ro d e d o w n
tow n th ro u g h th e m o n u m e n t p la z a a n d
th e n s tr u c k e a s t o v er th e a s p h a lt of
Je fferso n s tre e t, w here a h a n d s o m e old
g e n tle m a n of 60, rid in g a h o rse t h a t
w a® rt'm em b ered w ith p rid e a t L e x in g
ton, w as n o t seen e v e ry d a y . R o d n e y
M e rriam w as th in k in g
d ee p ly
th is
m o rning, a n d th e s h a rp r a t t l e o f h is
h o rse s hoofs on th e h a r d p a v e m e n t
did n o t an n o y him a s it u s u a lly did.
A rse n a l is a w ord th a t s u g g e s ts d ir e
ful th in g s, b u t th e A rse n a l t h a t h ad
been m a in ta in e d th ro u g h m a n y p e a c e
ful y e a rs a t M ariona, u n til th e to w n in
its g ro w th leap ed o v er th e g o v e rn m e n t
sto n e w alls an d e x te n d e d th e u rb a n
lines beyond it, w as re a lly a p r e tty
p ark . T h e re sid e n c e s of th e o .l.c e rs
a n d se v e ra l m assiv e s to re h o u s e s w ere,
a t least, Inoffensive to th e eye. T h e
n a tiv e fo re s t tr e e s w’ere aglow ' w ith a u
tu m n color, a n d la b o re rs w e re c o lle c t
ing an d c a r r y in g aw a y d e a d leaves.
M e rriam b ro u g h t h is h o rse to a w alk
a s he n e a re d th e open g a te s
A p ri
v a te cam e o u t of th e little g u a r d -h o u s e
a n d r e tu rn e d M e rria m ’s s a lu te .
The
m a n g azed a d m irin g ly a f t e r th e m ili
ta r y figure on
th e
th o ro u g h b re d ,
th o u g h he h a d o ften se en r id e r a n d
h o rse before, a n d he k n ew t h a t Mr.
M e rriam w a s a frie n d of M a jo r C o n
grleve, th e c o m m a n d a n t. T h e so ld ier
c o n tin u e d to s ta r e a f t e r R o d n e y M a r-
riam , c u rio u s to see w h e th e r th e v is ito r
w ould b rin g h is h a n d to h is h a t a s he
n ea re d th e flag th a t flapped h ig h o v e r
head. H e w a s n o t d isa p p o in te d ; R od
ney M e rriam n e v e r failed to s a lu te th e
colors, even w hen he w as
th in k in g
h a r d ; a n d he w a s in te n t u p o n a n idea
th is m o rn in g .
T h e m aid w ho a n s w e re d th e b ell was
n o t su re w h e th e r M a jo r C o n g rie v e w as
a t hom e; he h a d b een p a c k in g , she
s a id ; b u t th e c o m m a n d a n t a p p e a r e d a t
once an d g re e te d h is c a lle r co rd ially .
M a jo r C o n g riev e w as a trifle sto u t,
b u t h is g r a y c iv ilian c lo th e s m a d e th e
b e st of a figure th a t w a s n o t w h a t 11
h ad been. H e w a s bald, a n d looked
m u ch b e tte r in a h a t th a n w ith o u t it
"Y ou’ll p a rd o n m e fo r b r e a k in g in on
o u r p ack in g . I m erel ca m e to r e g is te r
a kick. I d o n ’t seem to k now a n of
th e local n ew s a n y m ore u n til it ’s sta le .
I’ve ju s t h e a rd th a t th e A rs e n a l h a s
b een sold a n d I w a n t to sa y t h a t i t ’s
a n o u tra g e to te a r th is place to pieces."
" I t is too b ad ; b u t I d o n ’t see w h a t
you a r e g o in g to do a b o u t it. I’ve a l
re a d y g o t m y w a lk in g p a p e rs. T h e in
c id e n t is closed a s f a r a s I a m c o n
c ern ed "
"T o g iv e us a n a c tiv e p o st in e x
ch a n g e for th e A rse n a l is n o t to do us
a k in d n e ss.
W e ’ve g o t u se d to you
g e n tle m e n of th e o rd n a n c e . Y o u r r e
pose h a s b een a n in s p ir a tio n to th e
c o m m u n ity ."
"N o irony!
T h e to w n h a s a lw a y s
b een so good to m e a n d m in e th a t
w e’ve h ad no c h a n c e fo r re p o se ."
"B u t th e S p a n is h W a r p a s s e d o v er
a n d n e v e r to u c h e d you. I d o n ’t b eliev e
th e p o w ers a t W a s h in g to n k n e w you
w ere h ere."
“Oh, yes, th e y did. T h e y w ire d m e
e v e ry few h o u rs to c o u n t th e old g u n s
in th e sto re h o u se , u n til I k n e w e v e ry
piece of th a t old s c ra p iro n by h e a r t.
If w'e’d used th o se old g u n s in t h a t w ar,
th e row w ith S p a in w ould h a v e b een
on a m o re e q u a l b a s is.”
"I su p p o se i t w ould,” sa id M e rriam ,
w ho w’a s th in k in g of s o m e th in g else.
“B u t I’m so rry y o u ’re g oing to leave.
W e n e v e r q u ite s e ttle d t h a t little q u e s
tio n a b o u t S h ilo h ; a n d I ’m co n v in ced
th a t yo u ’re w ro n g a b o u t th e F itz - J o h n
P o rte r case."
“W ell, p o s te rity w ill s e ttle
th o se
q u e s tio n s w ith o u t us. A nd w o u ld you
m in d w a lk in g o v er to th e office w ith
m e------ ’’
"B le ss m e, I m u st be g oing!
T h is
w a s a n u n p a rd o n a b le h o u r f o r a call."
“N o t in th e le a s t; only I ’ve a n o th e r
c a lle r o v er th e r e — P ollock, of th e q u a r
te r m a s te r ’s d e p a rtm e n t, w h o h a s been
s e n t o u t to ta k e c h a rg e of th e n ew p o st
site .
H e’s a n ice c h a p ; yo u
m u9t
k now him ."
‘T il be v ery g lad , som e o th e r tim e ,”
sa id M e rriam . “W h ich w a y does he
com e fro m ? ”
“H e ’s a S o u th e rn boy. F a t h e r w a s
a J o h n n y R eb. A n o th e r sig n t h a t th e
w a r is o v er a n d th e h a tc h e t b u rie d ."
“P ollock, d id you s a y ?
T e n n e ss e e
fa m ily ? I seem to re m e m b e r th e n a m e .”
“I th in k so. Yes. I’m su re . I look*
ed h im up in th e re g is te r."
( T o bp c o n tin u e d .)
A W on derfu l Snake.
S nakes on th e pam pas of Soutn
A m erica have m any enem ies. B urrow
ing owls feed on them , and so do hor-
ons and storks, w hich kill them w ith
a blow of th e ir pavelin beaks. T he ty
ra n t bird picks up the young snake
by th e tail and, flying to a branch or
stone, uses the reptile as a flail u n til
Its life is b attered out. The larg e liz
a rd of the pam pas, th e iguana, is a fa
m ous snake killer. It sm ites th e snake
to death w ith its pow erful tail. Mr.
H udson in his ‘‘N a tu ra lis t in la P la
ta ” tells th is sto ry :
One day a frien d of m ine was rid in g
out looking a fte r his cattle. One end
of his lasso was attach ed to his saddle,
and the re m a in d e r of the forty foot
line was allow ed to tra il on the
g round. T he rid e r noticed a large
ig u an a lying a p p are n tly asleep, and,
a lthough he rode w ithin a few inches,
it did not stir. B ut no sooner had th e
rid e r passed th a n the tra ilin g lasso a t
tra c te d the liz a rd 's a tte n tio n .
It
dashed a fte r th e slowly m oving rope
a n d d ealt it a succession of violent
blows w ith its tail. W hen the whole
of the lasso, several yards of w hich
had been pounded in vain, had passed
by, th e iguana, w ith u p lifted head,
gazed a fte r it w ith asto n ish m e n t.
N ever had such a w onderful sn a k e
crossed its path before.
D ili
Too
M a ter ia l.
"N o w " said Mrs. D resser, "don’t
you th in k m y new h a t Is a p erfect
d ream ?”
"W ell, no,” replied h e r h u sb a n d ; "to
be a perfect dream th e bill a tta c h e d
to It should also be m erely a d re am .”
__C atholic S ta n d ard a n d Time«.
tiiw *
J?* I didn’t k n e w a b o u t you
” I found O live to-day. And
th a t a n y M errlam s a n y -
1 in a house like this. W hy,
I’m going—b u t tell me—
_ come back a g ain ."
som ething so sin c ara and
"F ra n k Pollock, U. S. A."
Rodney aMerrlam then walked to
w ard M* own house, tapping the side
w alk a b stra c te d ly w ith his stick.
T he next m orning he called for tils
horse early. H e kept only one horse,
lo r he never drove; b u t he rode n e ar v
D a t e . B ack.
"W ho b u ilt th e first D read n o u g h t?"
"N oah.”—K ansas C ity Jo u rn a l.
N ever say die till you a re dead—
a n d th en It's no u s e —Spurgeon.
PREACHER LOSES $2 OF FEE
MODES
Young Man C harged fo r M arriage Li
cen se H as U nique Plan of Get
tin g Even W ith C lerk.
T h e c le rk filled o u t th e m a rria g e
fleense and han d ed It over.
" T h a n k you,” said th e young m an.
"H old on! T h a t’s 12."
"T w o d o lla rs !”
"Y es; did you suppose w e gave
those th in g s aw ay ?"
“I c e rta in ly did. C h a rg in ' a m an }2
'o r a s h e e t of p a p e r th a t d id n 't c o st
the co u n ty m o re th a n a nickel a t th e
ju ts ld e is ro b b ery . H av e I g o t to pay
It?”
"Y ou’ll pay It o r you’ll h a n d b a c k
:he docum ent."
"A ll rig h t," said th e young m an,
tak in g a bill o u t of his pocket, ten-
b r i n g It to th e c le rk and w a itin g for
6 a change, "b u t I can tell you rig h t
now you a in ’t ro b b in ’ m e. Y ou're rob-
Uin' th e p re ac h er. H e ’ll g e t Ju st $2
less th a n I w as g o ln ’ to give h im !"
P o c k e tin g th e c h an g e and tiltin g his
bat back on h is head, he sta lk e d o u t
3f the office w ith th e a ir of a m an w ho
uad been Im posed upon, b u t who knew
bow to g e t even.
A n o th er C atch.
G unner— W h a t’s th e la te s t n ew s to
day?
G uyer—G eorge W a sh in g to n 's a u to
sold fo r $500 In N ew Y ork.
G unner— W h a t a re you try in g to
hand m e? T h e re w ere no au to a In
George W ash in g to n 's day.
G uyer—W ho said a n y th in g ab o u t
autom obiles? T h is re fe rs to his a u to
graph.
T h e M ystery E xplained.
"S ee here, m y m an ,” said th e ph il
a n th ro p ist w ho w as doing a n In v es
tig a tin g s tu n t on his ow n acco u n t,
'you a re a n in te re s tin g puzzle to m e.”
"Is th a t so ?" qu eried th e o th er.
“Yes, It's so," a n sw e re d th e p a rty
of th e p h ila n th ro p y p a rt. "Y ou a re
too lazy to w ork. How do you m an
age to liv e?”
"Oh," w as th e rep ly , “I g e t tru ste d ."
T he Real D ifference.
J a c k —W h a t’s th e difference be-
tw een a p lu m b e r a n d a p o et?
Tom — T h a t’s old. A p lu m b e r lays
olpes a n d a poet pipes lays.
Ja c k —T h a t’s n o t th e an sw er.
Tom — W h a t Is It th e n ?
J a c k — A plu m b er h a s m oney to
burn, b u t a poet d o e sn ’t even g e t a
chance to sm ell th e sm oke.
As R ep resen ted .
‘See h e re ,” grow led th e Ira te m an
as he e n te re d th e Jew elry sto re . "I
bought th is w atch of you la s t w eek
and paid you $2 In cash for It. You
said It w ould w ork like a c h a rm — and
it do esn ’t keep tim e a t a ll.”
‘T h a t's all rig h t, m y frie n d ,” rep lied
the Jew eler calm ly. “ N e ith e r does a
ch arm .”
As It May Be.
“P eople a re not a lik e ,” re m a rk e d th e
m oralizer. "W h at su its one m ay n o t
please a n o th e r.”
"R ig h t you a re ,” re jo in ed th e d e
m oralizer. “ W h at Is one m an 's a u to
m obile m ay be a n o th e r m an 's Jug
g e rn a u t.”
©he
M O M ENT
1
|
I
j
H E young g irls a re bene
fiting by th e prev ailin g
note of g irlish n e ss w hich
c h a ra c te riz e s th is sum
m e r's d re sse s, and for
once a t le a s t th e y have
|
a d is tra c tin g n u m b er of
m odels from w hich to
choose. Som e a re love
lie r th a n o th e rs and all
h ave lines of g ra ce and
beauty. T he m ajo rity of th o se Intend
ed for a fte rn o o n w ear a re q uite sim
ply m ade. T h e m a te ria ls a re a com
bin atio n re p re se n tin g d a in tin e s s and
tn ex p en stv en ess, and trim m in g s are
lim ited t o fancy collars, e n tred eu x ,
tu ck s and so ft silk b e lts and ties,
w rites a fashion e x p e rt In th e New
Y ork H erald.
M uslins, law ns and lin en s a re th e
fa v o rite fo u n d atio n s for d re sse s to be
w orn a t ten n is and g a rd e n p a rtie s, for
d riv in g a t fashionable re s o rts and up
on the o th e r p le a sa n t o ccasio n s In
w hich g irls who a re not y e t In th e de
b u ta n te c la ss a re p e rm itte d to p a rtic i
pate. T h ese sim ple n a m e s of m ate
ria ls do n o t convey all th a t th ey m ight,
how ever, for th e reaso n th a t m uslins
and lin en s In th e finer q u a litie s a re
re ally glorified fa b ric s, sh e e r In w eave,
d e lic ate In te x tu re a n d offered In ex
q u isite colors.
H alf a dozen of th e s e th in a fte rn o o n
d re sse s a re not too m any for th e a v
e ra g e young girl to p o ssess, and It
goes w ith o u t say in g th a t tw o of them
w ill be w hite. A w hite lin g e rie and a
w h ite lin e n a re a lm o st e sse n tia l to
th e su m m er outfit. T h is lea v es four,
o r m ore If liked, to be ch o sen In th e
w e a re r’s m o st becom ing colors. T he
sh a d e s from w hich young g irls m ay
choose a re so m ew h at m o re lim ited
th a n for o ld er w om en, b u t th e lis t In
cludes pink, blue, gray, c rea m o r pale
yellow, brow n and rose. T h e d a rk e r
sh a d e s a re su itab le for lin e n s and
sim ila r m a te ria ls , w hile th e sh e e r
fa b ric s c a n n o t be too d e lic a te In th e ir
colorings, If th e y a re to be m ad e w ith
out th e veiled effect, w hich Is one of
th e fad s of th is season.
A m ong th e sim p le r m a te ria ls a re
c h arm in g m a rq u ise tte s, sho w in g deli
c a te pink strip e s a lte rn a tin g w ith an
openw ork p a tte rn , and th e re are
d o tted and figured c o tto n m a rq u ise tte s
and m uslins w hich h ave all th e b eau ty
of silk and a re m uch b e tte r su ited to
th e y o u th fu l w e a re r th a n even foul
a rd s or som e of th e so fte r w eav es of
,11k.
T he c o tto n voiles, new in w eave and
finish, w ere n e v er m ore a llu rin g , and
th ey d ra p e a g irlish figure as no o th
e r fabric does. W ith pink a n d w hite,
ro se and w hite, g re en w ith w h ite fig
u re s and In dull g ra y pin strip e s a
b rillia n t to u ch of color is used, p e r
h a p s a sa tin bow or a p iping on a
round collar, to give th e d re ss an air.
N arrow V a len c ie n n e s In se rtio n s are
used fo rt h e m ost p a r t on lin g erie
d re sse s, and even th e se a re now often
trim m ed w ith o th e r lac es o r w ith em
b ro id ery to d iffe re n tia te th em from
th e u b iquitous re ad y m ade g a rm e n t.
I
j
W orks Both W ays.
“T h e c la rin e t," re m a rk e d th e a m i
te u r a s he paused to g e t his second
wind. "Is th e h a rd e st In stru m e n t tc
play.”
OTH IN G Is p re ttie r In c u t fo r a
“A nyw ay," rejo in ed his one-m an au
sim ple lin g e rie d re ss th a n the
dience, “ it c a n 't be any h a rd e r to play
one m ade w ith a s tra ig h t line
th an it is to liste n to."
a cro ss th e neck re a c h in g from sh o u l
d e r to shoulder, a fte r th e sty le of Ita l
ian d re sse s w orn In m ediaeval days.
H is T ask.
“Did you do m uch sight-seeing w hen T he line Is horizo n tal, and th e fro n t
and back a re filled In w ith b an d s of
you w en t a b ro ad ? ”
'•‘No,” a n sw e red Mr. Cum rox. "M oth lace ru n c rossw ise. A m a rq u is e tte or
er a n d th e g irls did th e sight-seeing. d a in ty m uslin d re ss m ade In th is sty le
1 had to p u t in m y tim e flndfng th e would h ave an Inch w ide s trip of trim
places w h ere th ey cash le tte rs of m ing, e ith e r a hand em b ro id ere d strip
o r good lace, finishing th e top of th e
c re d it.”— W asp.
w aist, fro n t and back. T h en from th e
p o in t w here th e tw o s trip s m ee t on
T he M odern W ay.
th e sh o u ld e r th e y w ould u n ite and con
“H as he ask ed y our p a re n ts foi tin u e down th e sle ev e s on th e o u tsid e
your h an d y e t? ”
of th e arm In a sin g le band.
"My, no. T h a t’s an old fashioned
A pink d o tted m uslin w as m ad e In
custom th a t’s no longer observed. My th is fashion w ith an Inch w ide piece
fa th e r m ay co n sid er him self lucky 1/ of C luny In se rtio n o u tlin in g th e neck
we d ecide to send him an in v ita tio n tf and fo rm in g th e sleeve trim m in g . T he
our w edding.”
sle ev e s w ere a n arro w kim ono cut,
w ith a band of th e lace fin ishing the
bo tto m at th e elbow , w h ere an u n d e r
T h ought Q uickly.
sleeve of fine w hite tu ck ed linen w as
W h a t is a to te m pole?” his
seen. T h e blouse w as d raw n In a t
asked.
A to te m pole,” he said, th in k in g th e w aist u n d e r a c ru sh ed b e lt of pink
fast, “ Is th e ra il—o r pole— on w hich j silk and th e s k irt fell a bit full a t the
an o b jec tio n a b le citizen Is rid d en —-a w aist, b u t r a th e r s c a n t a t th e bottom
and had a ten-inch band of fine em
to te d —o u t of th e com m unity.”
b ro id ery w orked a c ro ss below the
k n e es and fallin g over a p lain sk irt
T he B e tte r W ay.
M aude — F o rm erly
w hen
Miss of th e strip e d m aterial.
T h e re Is sc a rc e ly a n y d re ss d e sig n
S c re ec h er w as asked to sin g she w ould
ed now for a young g irl w hich does
say "O h, I c a n 't."
C lara — B ut sne d o e sn 't do th a t now n o t show a low co llar o r th e neck cut
M aude— No; she le ts th e audience aw ay to d isclose th e th ro a t In a com
fo rtab le and p re tty way. O ld er wo
find It o u t for them selves.
m en have adopted th e sty le to a g re at
e x te n t, but It Is one u n iv ersally be
G entle P ro te st.
com ing to youth, while only occasio n
B a rb e r (on tr a in ) — Yes, th is Is s ally so to w om en who have passed
g re at road, sir. L et m e d esc rib e It to th e ir girlhood. Low round co llars
you as I w ork.
of e m b ro id ery a re alm ost a lw ay s seen
Man In C hair— E r—yes, b u t don’t on th e linen d re sse s, and any se v e rity
put th e c u rv e s In m y ch ee k s w ith of c u t Is th u s offset by th e g racefu l
th a t razor.
neck trim m ing.
A deep ro se colored d re ss w hich
G ettin g Back a t th e Prof.
would sound a strik in g note a t a te n
P rof.—Ie a w aterm elo n a veg etab le nis a fte rn o cn has been selected for a
girl w ith d ark h a ir and ex ce lle n t col
or a fru it?
Stud«,—t l o n 't know . B ut please oring
T he blouse I, sim ple end un-
tell m e w h e th e r clam digging Is flsh- trtm nned, except for th e rolling c o lla r
lug o r a g ric u ltu re .
of ro se linen em broidered In ro se and
edged with a narrow frill of V alen
cien n es lace set onto th e co llar w ith a
A C autloue Gam e.
"D oes R llgglns e v er bluff w hen he n a rro w black sa tin piping. T h e d re ss
b u tto n s In th e fro n t and h a s a sim ple
plays c a rd s T”
“N e v er u n til be g e ts hom e gad ex linen belt and cuffs to m atch th e col
lar t r i u n l n g .
W ith th is d re ss tba
olalns w h ere he has b e en ”
N
g irl w e ars a w ide brim m ed ro se col
ored stra w h a t trim m ed w ith a huge
black sa tin bow a t th e left sid e to w a rd
th e hack.
W hite and black pin strip e d m arq u i
s e tte or m uslin m ake a becom ing and
useful d re ss for alm o st any a fte rn o o n
affair, and It can be given m uch of an
a ir by th e trim m in g used to b rig h te n
It. T h e dull g ra y to n e of th e m a te ria l
com bines well w ith rose color o r pink,
w hile o e rta ln sh a d e s of blue o r yellow
o ften lend a d e lig h tfu l touch. A d re ss
of th is design w as m ade w ith a slig h t
ly c u t out neck and a c o lla rle ss effect
w as achieved by an a p p lic atio n of
trim m in g to su rro u n d th e neck. T h e
trim m in g w as n o th in g m ore th a n a
shaped piece of rose colored silk w ith
ends w hich fell a lm o st to th e top of
th e w ide c ru sh ed b e lt of th e m arq u i
se tte . T h e sleev es w ere finished w ith
a cuff of th e sam e rose sa tin and lace
frilling, w hile th e sk irt, w hich w as
sh o rt and n a rro w , had a deep band of
th e m a te ria l c u t th e o th e r way so th a t
th e s trip e s ra n around. T h is band
w as headed by a tin y fold of ro se
sa tin .
H IL E th e se v e re r sty les of linen
d re sse s h ave low necks, th e line
for th e s e la h ig h er th a n for th e
so fte r m odels. V oiles, dainty m u slin s
and lin g e rie effects m ay be c u t q u ite
lo w ,co m p ara tiv e ly sp e a k in g ,to d isclose
th e c urve w h e re th e neck and shoul
d e rs round Into eac h o th er. T h e re Is
th is ru le to ob serv e, how ever. In plan
n in g such a frock, and th a t Is to h a v e
th e cu rv e shallow a cro ss th e fro n t and
back. In ste a d of re sem b lin g a “U " It
should be lik e a c resc e n t. A sim ple
fold of silk, an e n tre d e u x o r a n a rro w
sh a p e d c o lla r m ak e s a becom ing finish
fo r th e neck, and th e n th e fa v o rite
frill of fine lin e n o r lace m ay be added
below this. S o m etim es th e lin g e rie
ruffle Is se t on a t th e top of th e n eck
and th e re Is no o th e r finish.
U n d e rsle e v e s a re a fe a tu re of m an y
su m m er d re sse s a n d th e s e show a lit
tle below th e elbow o r m ore, from
h a lf w ay betw een sho u ld er and el
bow to h alf way betw een w rist and
elbow . T h e re se e m s to be no h a rd
and fa st ru le a b o u t th e le n g th of
sle ev e s fo r su c h d resses. As a u su al
th in g th e y com e m idw ay to th e h and,
b u t so m e tim es th ey end Just below th e
elbow . Few of th em re ac h th e full
le n g th of th e arm . a len g th w hich
d e tra c ts from th e cool, su m m ery look
of a lm o st a n y gow n. Above th e un
d e rsle e v e th e sleeve p ro p e r Is finished
w ith som e trim m in g , a fancy cuff—•
p e rh a p s a d ju sta b le , w hich c an be
fresh e n e d from tim e to tim e— o r w ith
a closely fitting band of e m b ro id ery
o r lace. T h is m ay go s tra ig h t aro u n d
th e arm o r tu rn a t rig h t an g le s on th e
o u tsid e of th e arm and end In an u p
w ard p o in t
A buff linen d re ss b u tto n in g dow n
th e fro n t h a s th e s k irt c u t In a g ra d u
a te d panel and a deep plaited flounce
re a c h in g all aro u n d from th e sid es of
th e panel. T h e blouse also has b u t
to n s In front, follow ing a diagonal line,
and th e re Is a m edium w id th b e lt fa st
e n in g w ith b u tto n s. A round, flat col
la r of fine em b ro id ery finishes th e
neck and th e th re e -q u a rte r len g th
sle ev e s h ave cuffs to m atch . T h e
blouse Is given fu ln ess by h a v in g a
w ide p lait laid backw ard a t th e shoul
d e rs and stitc h e d p a rt way down.
P o in ted lines In trim m in g a re u ti
lized effectively In a d ress m ad e of
s h e e r b a tiste w ith a tin y all o v e r em
b ro id ere d flower. T h e s k irt has a
g ra d u a te d flounce headed by a band of
c ro ss tu ck in g w hich Is edged on ei
th e r sid e w ith V alenciennes Insertion.
T h is trim m in g form s a deep V In
fro n t and slopes upw ard a t th e side«,
re a c h in g a lm o st to th e b elt In th e
back. T he sam e sch em e Is c a rrie d
o u t In th e w a ist trim m in g and It la
re p e a te d In th e sleeves. A so ft c ru sh ed
pink silk b elt and som e loops of th e
silk a t th e neck su g g e stin g a tie com
p lete th is c h a rm in g a fte rn o o n cos
tum e.
W
To P u t on a Veil.
How m any w om en know how to ad
ju s t a veil? V ery few ; and w hen c a re
lessly p u t on, no m a tte r how b e au tifu l
th e coiffure o r how becom ing th e
hat, th e e n tire effect Is ruined. M any
w om en n e v e r a c q u ire th e tric k of a d
ju s tin g a veil n e atly , th e re fo re th ey
should d isp e n se w ith It a lto g e th e r, o r
ta k e tim e w hen th e re U n o th in g m ore
u rg e n t on hand, to lea rn th e a r t of dis
posing of th e en d s and giving It a fin
ished, ta s te fu l a p p ea ran c e. A veil c a n
not be put on h a stily and look well. In
th is re sp e c t It re sem b les a sh irtw a is t,
re g ard e d by m any as s sim ple g a r
m ent, but how o ften do you see th e
w e a re r of one looking a s trim a s th is
little g a rm e n t d em an d s
th a t she
should! U n less c are fu lly and p e rsist
e n tly a tta c h e d to th e s k i r t It Is bound
to bag; a little e x tra stra in , and It be
com es com pletely detach ed , leaving an
ugly sp a c e betw een th e w aist and
sk irt, w hile th e belt offers no reaso n
able ex p la n atio n for Its presence.— De
lin eato r.
M e d ic a l C o lla g e
Hym n.
"H av e you h e ard th e new m edical
school hy m n ?"
'N o w h at Is It?"
" F ifte e n m en on a dead m an 's
chest. ’ ’’— Yale R ecord