The Project Gutenberg EBook of A Cathedral Courtship, by Kate Douglas Wiggin

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

Title: A Cathedral Courtship

Author: Kate Douglas Wiggin

Illustrator: Charles E. Brock

Release Date: May 16, 2008 [EBook #25493]

Language: English

Character set encoding: ISO-8859-1


Produced by David Wilson and the Online Distributed
Proofreading Team at

[p i]


[p ii]
By the same Author.

Penelope’s Irish Experiences. 6s.

Penelope’s English Experiences. Illustrated by Charles E. Brock. 6s.

Penelope’s Experiences in Scotland. Illustrated by Charles E. Brock. 6s.

Timothy’s Quest. Illustrated by Oliver Herford. 2s. 6d.

Marm Liza. 6s.

Village Watch-Tower. 3s. 6d.

Polly Oliver’s Problem. Illustrated. 3s. 6d.

Summer in a Cañon. Illustrated. 3s. 6d.

Birds’ Christmas Carol. Illustrated. 1s. 6d.

Story of Patsy. Illustrated. 1s. 6d.

By Mrs. Wiggin & Miss Nora A. Smith.

The Story Hour. Illustrated. 2s. 6d.

Children’s Rights. 5s.

Republic of Childhood. 3 vols. 5s. each.


[p iv]
‘Jack! Jack! save me!’

[p v]
Cathedral Courtship

Kate Douglas Wiggin



Publisher's device


All rights reserved

[p vi]
Originally published in 1893 with ‘Penelope’s English Experiences,’ and reprinted 1893 (twice), 1894, 1895, 1896, 1897.

[p vii]

A Cathedral Courtship’ was first published in 1893, appearing in a volume with ‘Penelope’s English Experiences.’ In course of time, the latter story, finding unexpected favour in the public eyes, left its modest companion, and was promoted to a separate existence, with pictures and covers of its own. Then something rather curious occurred, one of those trifles which serve to make a publisher’s life an exciting, if not a happy, one. When the ‘gentle reader’ (bless his or her warm and irrational heart!) could no longer buy ‘A Cathedral Courtship,’ a new desire for it sprang into being, and when the demands became sufficiently ardent and numerous, it was decided to republish the story, with illustrations by Mr. Charles E. Brock, an artist who can be [p viii] relied upon to put new energy into a live tale or resuscitate a dead one.

At this point the author, having presumably grown in knowledge of grammar, spelling, and punctuation, was asked to revise the text, and being confronted with the printed page, was overcome by the temptation to add now and then a sentence, line, or paragraph, while the charming shade of Miss Kitty Schuyler perched on every exclamation point, begging permission to say a trifle, just a trifle, more.

‘You might allow me to explain myself just there,’ she coaxed; ‘and if you have told them all I was supposed to be thinking in Winchester or Salisbury or Oxford, why not tell them what I thought in Bath or Peterborough or Ely? It was awfully interesting!’

Jack Copley, too, clamoured to be heard still further on the subject of his true-love’s charms, so the author yielded to this twofold pressure, and added a few corroborative details.

The little courtship, running its placid course through sleepy cathedral towns, has not been altered in the least by these new pages. It is only as if [p ix] the story-teller, meeting a new pair of interested eyes, had almost unconsciously drifted into fresh confidences.


This is all quite true, and anyway we have said nothing that we are a bit ashamed of.




Their mark.

London, July, 1901.

[p xi]

‘JACK! JACK! SAVE ME!’Frontispiece



Winchester, May 28, ——,
The Royal Garden Inn.

We are doing the English cathedral towns, Aunt Celia and I. Aunt Celia has an intense desire to improve my mind. Papa told her, when we were leaving Cedarhurst, that he wouldn’t for the world have it too much improved, and Aunt Celia remarked that, so far as she could judge, there was no immediate danger; with which exchange of hostilities they parted.

We are travelling under the yoke of an [p2] iron itinerary, warranted neither to bend nor break. It was made out by a young High Church curate in New York, and if it were a creed, or a document that had been blessed by all the bishops and popes, it could not be more sacred to Aunt Celia. She is awfully High Church, and I believe she thinks this tour of the cathedrals will give me a taste for ritual and bring me into the true fold. Mamma was a Unitarian, and so when she was alive I generally attended service at that church. Aunt Celia says it is not a Church; that the most you can say for it is that it is a ‘belief’ rather loosely and carelessly formulated. She also says that dear old Dr. Kyle is the most dangerous Unitarian she knows, because he has leanings towards Christianity.

Long ago, in her youth, Aunt Celia was engaged to a young architect. He, with his triangles and T-squares and things, [p3] succeeded in making an imaginary scale-drawing of her heart (up to that time a virgin forest, an unmapped territory), which enabled him to enter in and set up a pedestal there, on which he has remained ever since. He has been only a memory for many years, to be sure, for he died at the age of twenty-six, before he had had time to build anything but a livery stable and a country hotel. This is fortunate, on the whole, because Aunt Celia thinks he was destined to establish American architecture on a higher plane, rid it of its base, time-serving, imitative instincts, and waft it to a height where, in the course of centuries, it would have been revered and followed by all the nations of the earth.

I went to see the stable, after one of these Miriam-like flights of prophecy on the might-have-been. It isn’t fair to judge a man’s promise by one modest performance, [p4] and so I shall say nothing, save that I am sure it was the charm of the man that won my aunt’s affection, not the genius of the builder.

This sentiment about architecture and this fondness for the very toppingest High Church ritual cause Aunt Celia to look on the English cathedrals with solemnity and reverential awe. She has given me a fat note-book, with ‘Katharine Schuyler’ stamped in gold letters on the Russia-leather cover, and a lock and key to conceal its youthful inanities from the general public. I am not at all the sort of girl who makes notes, and I have told her so; but she says that I must at least record my passing impressions, if they are ever so trivial and commonplace. She also says that one’s language gains unconsciously in dignity and sobriety by being set down in black and white, and that a liberal use of pen and ink will [p5] be sure to chasten my extravagances of style.

I wanted to go directly from Southampton to London with the Abbotts, our ship friends, who left us yesterday. Roderick Abbott and I had had a charming time on board ship (more charming than Aunt Celia knows, because she was very ill, and her natural powers of chaperoning were severely impaired), and the prospect of seeing London sights together was not unpleasing; but Roderick Abbott is not in Aunt Celia’s itinerary, which reads: ‘Winchester, Salisbury, Bath, Wells, Gloucester, Oxford, London, Ely, Peterborough, Lincoln, York, Durham.’ These are the cathedrals Aunt Celia’s curate chose to visit, and this is the order in which he chose to visit them. Canterbury was too far east for him, and Exeter was too far west, but he suggests Ripon and Hereford if strength and time permit.

Aunt Celia is one of those persons who are born to command, and when they are thrown in contact with those who are born to be commanded all goes as merry as a marriage bell; otherwise not.

So here we are at Winchester; and I don’t mind all the Roderick Abbotts in the universe, now that I have seen the Royal Garden Inn, its pretty coffee-room opening into the old-fashioned garden, with its borders of clove-pinks, its aviaries, and its blossoming horse-chestnuts, great towering masses of pink bloom.

Aunt Celia has driven to St. Cross Hospital with Mrs. Benedict, an estimable lady tourist whom she ‘picked up’ en route from Southampton. I am tired, and stayed at home. I cannot write letters, because Aunt Celia has the guide-books, so I sit by the window in indolent content, watching the dear little school laddies, with their short jackets and wide white [p7] collars; they all look so jolly, and rosy, and clean, and kissable. I should like to kiss the chambermaid, too. She has a pink print dress, no fringe, thank goodness (it’s curious our servants can’t leave that deformity to the upper classes), but shining brown hair, plump figure, soft voice, and a most engaging way of saying ‘Yes, miss? Anythink more, miss?’ I long to ask her to sit down comfortably and be English while I study her as a type, but of course I mustn’t. Sometimes I wish I could retire from the world for a season and do what I like, ‘surrounded by the general comfort of being thought mad.’

An elegant, irreproachable, high-minded model of dignity and reserve has just knocked and inquired what we will have for dinner. It is very embarrassing to give orders to a person who looks like a Justice of the Supreme Court, but I said languidly:

‘What would you suggest?’

‘How would you like a clear soup, a good spring soup, to begin with, miss?’

‘Very much.’

‘And a bit of turbot next, miss, with anchovy sauce?’

‘Yes, turbot, by all means,’ I said, my mouth watering at the word.

‘And what else, miss? Would you enjoy a young duckling, miss, with new potatoes and green peas?’

‘Just the thing; and for dessert—’ I couldn’t think what I ought to order next in England, but the high-minded model coughed apologetically, and, correcting my language, said:

‘I was thinking you might like gooseberry-tart and cream for a sweet, miss.’

Oh that I could have vented my New World enthusiasm in a sigh of delight as I heard those intoxicating words, heretofore met only in English novels!

‘Ye—es,’ I said hesitatingly, though I was palpitating with joy, ‘I fancy we should like gooseberry-tart’ (here a bright idea entered my mind); ‘and perhaps, in case my aunt doesn’t care for the gooseberry-tart, you might bring a lemon-squash, please.’

Now, I had never met a lemon-squash personally, but I had often heard of it, and wished to show my familiarity with British culinary art.

‘It would ’ardly be a substitute for gooseberry-tart, miss; but shall I bring one lemon-squash, miss?’

‘Oh, as to that, it doesn’t matter,’ I said haughtily; ‘bring a sufficient number for two persons.’

* * * * *

Aunt Celia came home in the highest feather. She had twice been mistaken for an Englishwoman. She said she thought [p10] that lemon-squash was a drink; I thought, of course, it was a pie; but we shall find out at dinner, for, as I said, I ordered a sufficient number for two persons, and the head-waiter is not a personage who will let Transatlantic ignorance remain uninstructed.

At four o’clock we attended evensong at the cathedral. I shall not say what I felt when the white-surpliced boy choir entered, winding down those vaulted aisles, or when I heard for the first time that intoned service, with all its ‘witchcraft of harmonic sound.’ I sat quite by myself in a high carved oak seat, and the hour was passed in a trance of serene delight. I do not have many opinions, it is true, but papa says I am always strong on sentiments; nevertheless, I shall not attempt to tell even what I feel in these new and beautiful experiences, for it has been better told a thousand times.

“It would ’ardly be a substitute for gooseberry-tart, miss.”

There were a great many people at service, and a large number of Americans among them, I should think, though we saw no familiar faces. There was one particularly nice young man, who looked like a Bostonian. He sat opposite me. He didn’t stare—he was too well bred, but when I looked the other way he looked at me. Of course, I could feel his eyes; anybody can—at least, any girl can; but I attended to every word of the service, and was as good as an angel. When the procession had filed out, and the last strain of the great organ had rumbled into silence, we went on a tour through the cathedral, a heterogeneous band, headed by a conscientious old verger, who did his best to enlighten us, and succeeded in virtually spoiling my pleasure.

After we had finished (think of ‘finishing’ a cathedral in an hour or two!), Aunt Celia and I, with one or two others, [p13] wandered through the beautiful close, looking at the exterior from every possible point, and coming at last to a certain ruined arch which is very famous. It did not strike me as being remarkable. I could make any number of them with a pattern without the least effort. But, at any rate, when told by the verger to gaze upon the beauties of this wonderful relic and tremble, we were obliged to gaze also upon the beauties of the aforesaid nice young man, who was sketching it.

As we turned to go away, Aunt Celia dropped her bag. It is one of those detestable, all-absorbing, all-devouring, thoroughly respectable, but never proud, Boston bags, made of black cloth with leather trimmings, ‘C. Van T.’ embroidered on the side, and the top drawn up with stout cords which pass over the Boston wrist or arm. As for me, I loathe them, and would not for worlds be seen carrying [p14] one, though I do slip a great many necessaries into Aunt Celia’s.

I hastened to pick up the horrid thing, for fear the nice young man would feel obliged to do it for me; but, in my indecorous haste, I caught hold of the wrong end, and emptied the entire contents on the stone flagging. Aunt Celia didn’t notice; she had turned with the verger, lest she should miss a single word of his inspired testimony. So we scrambled up the articles together, the nice young man and I; and oh, I hope I may never look upon his face again.

There were prayer-books and guide-books, a Bath bun, a bottle of soda-mint tablets, a church calendar, a bit of gray frizz that Aunt Celia pins into her cap when she is travelling in damp weather, a spectacle-case, a brandy-flask, and a bon-bon-box, which broke and scattered cloves and peppermint lozenges. (I hope he [p15] guessed Aunt Celia is a dyspeptic, and not intemperate!) All this was hopelessly vulgar, but I wouldn’t have minded anything if there had not been a Duchess novel. Of course he thought that it belonged to me. He couldn’t have known Aunt Celia was carrying it for that accidental Mrs. Benedict, with whom she went to St. Cross Hospital.

After scooping the cloves out of the cracks in the stone flagging—and, of course, he needn’t have done this, unless he had an abnormal sense of humour—he handed me the tattered, disreputable-looking copy of ‘A Modern Circe,’ with a bow that wouldn’t have disgraced a Chesterfield, and then went back to his easel, while I fled after Aunt Celia and her verger.

* * * * *

Memoranda: The Winchester Cathedral has the longest nave. The inside is more [p16] superb than the outside. Izaak Walton and Jane Austen are buried here.


Winchester, May 28,
The White Swan.

As sure as my name is Jack Copley, I saw the prettiest girl in the world to-day—an American, too, or I am greatly mistaken. It was in the cathedral, where I have been sketching for several days. I was sitting at the end of a bench, at afternoon service, when two ladies entered by the side-door. The ancient maiden, evidently the head of the family, settled herself devoutly, and the young one stole off by herself to one of the old carved seats back of the choir. She was worse than pretty! I made a memorandum of her during service, as she sat under the dark carved-oak canopy, with this Latin inscription over her head:

Carlton cum
IX Solidorum
Super Flumina
Confitebor tibi
Dūc probati

There ought to be a law against a woman’s making a picture of herself, unless she is willing to allow an artist to ‘fix her’ properly in his gallery of types.

A black-and-white sketch doesn’t give any definite idea of this charmer’s charms, but sometime I’ll fill it in—hair, sweet little hat, gown, and eyes, all in golden brown, a cape of tawny sable slipping off her arm, a knot of yellow primroses in her girdle, carved-oak background, and the afternoon sun coming through a stained-glass window. Great Jove! She had a most curious effect on me, that girl! I can’t explain it—very curious, altogether new, and rather pleasant. When one of [p18] the choir-boys sang ‘Oh for the wings of a dove!’ a tear rolled out of one of her lovely eyes and down her smooth brown cheek. I would have given a large portion of my modest monthly income for the felicity of wiping away that teardrop with one of my new handkerchiefs, marked with a tremendous ‘C’ by my pretty sister.

An hour or two later they appeared again—the dragon, who answers to the name of ‘Aunt Celia,’ and the ‘nut-brown mayde,’ who comes when she is called ‘Katharine.’ I was sketching a ruined arch. The dragon dropped her unmistakably Boston bag. I expected to see encyclopædias and Russian tracts fall from it, but was disappointed. The ‘nut-brown mayde’ (who has been trained in the way she should go) hastened to pick up the bag for fear that I, a stranger, should serve her by doing it. She was punished by turning it inside out, and I [p19] was rewarded by helping her gather together the articles, which were many and ill-assorted. My little romance received the first blow when I found that she reads the Duchess novels. I think, however, she has the grace to be ashamed of it, for she blushed scarlet when I handed her ‘A Modern Circe.’ I could have told her that such a blush on such a cheek would almost atone for not being able to read at all, but I refrained. It is vexatious all the same, for, though one doesn’t expect to find perfection here below, the ‘nut-brown mayde,’ externally considered, comes perilously near it. After she had gone I discovered a slip of paper which had blown under some stones. It proved to be an itinerary. I didn’t return it. I thought they must know which way they were going; and as this was precisely what I wanted to know, I kept it for my own use. She is doing the cathedral towns. I am doing the [p20] cathedral towns. Happy thought! Why shouldn’t we do them together—we and Aunt Celia? A fellow whose mother and sister are in America must have some feminine society!

I had only ten minutes to catch my train for Salisbury, but I concluded to run in and glance at the registers of the principal hotels. Found my ‘nut-brown mayde’ at once in the guest-book of the Royal Garden Inn: ‘Miss Celia Van Tyck, Beverly, Mass., U.S.A. Miss Katharine Schuyler, New York, U.S.A.’ I concluded to stay over another train, ordered dinner, and took an altogether indefensible and inconsistent pleasure in writing ‘John Quincy Copley, Cambridge, Mass.,’ directly beneath the charmer’s autograph.

* * * * *


Salisbury, June 1,
The White Hart Inn.

We left Winchester on the 1.16 train yesterday, and here we are within sight of another superb and ancient pile of stone. I wanted so much to stop at the Highflyer Inn in Lark Lane, but Aunt Celia said that if we were destitute of personal dignity, we at least owed something to our ancestors. Aunt Celia has a temperamental distrust of joy as something dangerous and ensnaring. She doesn’t realize what fun it would be to date one’s letters from the Highflyer Inn, Lark Lane, even if one were obliged to consort with poachers and trippers in order to do it.

Better times are coming, however, for she was in a melting mood last evening, and promised me that wherever I can find an inn with a picturesque and unusual [p22] name, she will stop there, provided it is clean and respectable, if I on my part will agree to make regular notes of travel in my Russia-leather book. She says that ever since she was my age she has asked herself nightly the questions Pythagoras was in the habit of using as a nightcap:

‘What have I learned that’s worth the knowing?
What have I done that’s worth the doing?
What have I sought I should have shunned,
And into what new follies run?’

I asked her why Pythagoras didn’t say ‘runned’ and make a consistent rhyme, and she evaded the point by answering that Pythagoras didn’t write it in English.

We attended service at three. The music was lovely, and there were beautiful stained-glass windows by Burne-Jones and Morris. The verger (when wound up with a shilling) talked like an electric doll. If that nice young man is making a cathedral tour like ourselves, he isn’t [p23] taking our route, for he isn’t here. If he has come over for the purpose of sketching, he wouldn’t stop with one cathedral, unless he is very indolent and unambitious, and he doesn’t look either of these.

Perhaps he began at the other end, and worked down to Winchester. Yes, that must be it, for the Ems sailed yesterday from Southampton. Too bad, for he was a distinct addition to the landscape. Why didn’t I say, when he was picking up the collection of curios in Aunt Celia’s bag, ‘You needn’t bother about the novel, thank you; it is not mine, and anyway it would be of no use to anybody.’

June 2.

We intended to go to Stonehenge this morning, but it rained, so we took a ‘growler’ and went to the Earl of Pembroke’s country place to see the pictures. Had a delightful morning with the [p24] magnificent antiques, curios, and portraits. The Van Dyck room is a joy for ever; but one really needs a guide or a friend who knows something of art if one would understand these things. There were other visitors; nobody who looked especially interesting. Don’t like Salisbury so well as Winchester. Don’t know why. We shall drive this afternoon, if it is fair, and go to Bath and Wells to-morrow, I am glad to say. Must read Baedeker on the Bishop’s palace. Oh, dear! if one could only have a good time and not try to know anything!

Memoranda: This cathedral has the highest spire. Remember: Winchester, longest nave; Salisbury, highest spire.

The Lancet style is those curved lines meeting in a rounding or a sharp point like this inverted U shape and /\, and then joined together like this \/\/\/, the way they scallop babies’ flannel petticoats. Gothic looks like triangles meeting together in various spots [p25] and joined with a beautiful sort of ornamented knobs. I think I recognise Gothic when I see it. Then there is Norman, Early English, fully developed Early English, Early and Late Perpendicular, Transition, and, for aught I know, a lot of others. Aunt Celia can tell them all apart.


Salisbury, June 3,
The Red Lion.

I went off on a long tramp this afternoon, and coming on a pretty river flowing through green meadows, with a fringe of trees on either side, I sat down to make a sketch. I heard feminine voices in the vicinity, but as these are generally a part of the landscape in the tourist season, I paid no special notice. Suddenly a dainty patent-leather shoe floated towards me on the surface of the stream. It evidently had just dropped in, for it was right side [p26] up with care, and was disporting itself most merrily. ‘Did ever Jove’s tree drop such fruit?’ I quoted as I fished it out on my stick; and just then I heard a distressed voice saying, ‘Oh, Aunt Celia, I’ve lost my smart little London shoe. I was sitting in a tree taking a pebble out of the heel, when I saw a caterpillar, and I dropped it into the river—the shoe, you know, not the caterpillar.’

[p27] I offered it to her with distinguished grace

Hereupon she came in sight, and I witnessed the somewhat unusual spectacle of my ‘nut-brown mayde’ hopping, like a divine stork, on one foot, and ever and anon emitting a feminine shriek as the other, clad in a delicate silk stocking, came in contact with the ground. I rose quickly, and, polishing the patent leather ostentatiously inside and out with my handkerchief, I offered it to her with distinguished grace. She sat hurriedly down on the ground with as much dignity as possible, and then, [p28] recognising me as the person who picked up the contents of Aunt Celia’s bag, she said, dimpling in the most distracting manner (that’s another thing there ought to be a law against): ‘Thank you again; you seem to be a sort of knight-errant.’

‘Shall I—assist you?’ I asked. I might have known that this was going too far. Of course I didn’t suppose she would let me help her put the shoe on, but I thought—upon my soul, I don’t know what I thought, for she was about a million times prettier to-day than yesterday.

‘No, thank you,’ she said, with polar frigidity. ‘Good-afternoon.’ And she hopped back to her Aunt Celia without another word.

I don’t know how to approach Aunt Celia. She is formidable. By a curious accident of feature, for which she is not in the least responsible, she always wears an unfortunate expression as of one [p29] perceiving some offensive odour in the immediate vicinity. This may be a mere accident of high birth. It is the kind of nose often seen in the ‘first families,’ and her name betrays the fact that she is of good old Knickerbocker origin. We go to Wells to-morrow—at least, I think we do.


Salisbury, June 3.

I didn’t like Salisbury at first, but I find it is the sort of place that grows on one the longer one stays in it. I am quite sorry we must leave so soon, but Aunt Celia is always in haste to be gone. Bath may be interesting, but it is entirely out of the beaten path from here.


Bath, June 7,
The Best Hotel.

I met him at Wells and again this [p30] afternoon here. We are always being ridiculous, and he is always rescuing us. Aunt Celia never really sees him, and thus never recognises him when he appears again, always as the flower of chivalry and guardian of ladies in distress. I will never again travel abroad without a man, even if I have to hire one from a feeble-minded asylum. We work like galley-slaves, Aunt Celia and I, finding out about trains and things. Neither of us can understand Bradshaw, and I can’t even grapple with the lesser intricacies of the A B C Railway Guide. The trains, so far as I can see, always arrive before they go out, and I can never tell whether to read up the page or down. It is certainly very queer that the stupidest man that breathes, one that barely escapes idiocy, can disentangle a railway guide when the brightest woman fails. Even the boots at the inn in Wells took my book, and, rubbing his frightfully [p31] dirty finger down the row of puzzling figures, found the place in a minute, and said, ‘There ye are, miss.’ It is very humiliating. I suppose there are Bradshaw professorships in the English universities, but the boots cannot have imbibed his knowledge there. A traveller at table d’hôte dinner yesterday said there are three classes of Bradshaw trains in Great Britain: those that depart and never arrive, those that arrive but never depart, and those that can be caught in transit, going on, like the wheel of eternity, with neither beginning nor end. All the time I have left from the study of routes and hotels I spend on guide-books. Now, I’m sure that if any one of the men I know were here, he could tell me all that is necessary as we walk along the streets. I don’t say it in a frivolous or sentimental spirit in the least, but I do affirm that there is hardly any juncture in life where one isn’t better [p32] off for having a man about. I should never dare divulge this to Aunt Celia, for she doesn’t think men very nice. She excludes them from conversation as if they were indelicate subjects.

But to go on, we were standing at the door of Ye Crowne and Keys at Wells, waiting for the fly which we had ordered to take us to the station, when who should drive up in a four-wheeler but the flower of chivalry. Aunt Celia was saying very audibly, ‘We shall certainly miss the train, if the man doesn’t come at once.’

‘Pray take this cab,’ said the flower of chivalry. ‘I am not leaving for an hour or more.’

Aunt Celia got in without a murmur; I sneaked in after her, not daring to lift my eyes. I don’t think she looked at him, though she did vouchsafe the remark that he seemed to be a civil sort of person.

I was walking about by myself this [p33] afternoon. Aunt Celia and I had taken a long drive, and she had dropped me in a quaint old part of the town that I might have a brisk walk home for exercise. Suddenly it began to rain, which it is apt to do in England, between the showers, and at the same moment I espied a sign, ‘Martha Huggins, Licensed Victualler.’ It was a nice, tidy little shop, with a fire on the hearth and flowers in the window, and I thought no one would catch me if I stepped inside to chat with Martha until the sun shone again. I fancied it would be delightful and Dickensy to talk quietly with a licensed victualler by the name of Martha Huggins.

Just after I had settled myself, the flower of chivalry came in and ordered ale. I was disconcerted at being found in a dramshop alone, for I thought, after the bag episode, he might fancy us a family of inebriates. But he didn’t evince the [p34] slightest astonishment; he merely lifted his hat, and walked out after he had finished his ale. He certainly has the loveliest manners, and his hair is a more beautiful colour every time I see him.

And so it goes on, and we never get any further. I like his politeness and his evident feeling that I can’t be flirted and talked with like a forward boarding-school miss; but I must say I don’t think much of his ingenuity. Of course one can’t have all the virtues, but if I were he, I would part with my distinguished air, my charming ease—in fact, almost anything, if I could have in exchange a few grains of common-sense, just enough to guide me in the practical affairs of life.

[p35] “I was disconcerted at being found in a dramshop alone.”

I wonder what he is? He might be an artist, but he doesn’t seem quite like an artist; or just a dilettante, but he doesn’t look in the least like a dilettante. Or he might be an architect; I think that is the [p36] most probable guess of all. Perhaps he is only ‘going to be’ one of these things, for he can’t be more than twenty-five or twenty-six. Still, he looks as if he were something already; that is, he has a kind of self-reliance in his mien—not self-assertion, nor self-esteem, but belief in self, as if he were able, and knew that he was able, to conquer circumstances.

Aunt Celia wouldn’t stay at Ye Olde Bell and Horns here. She looked under the bed (which, I insist, was an unfair test), and ordered her luggage to be taken instantly to the Grand Pump Room Hotel.

Memoranda: Bath became distinguished for its architecture and popular as a fashionable resort in the 17th century from the deserved repute of its waters and through the genius of two men, Wood the architect and Beau Nash, Master of Ceremonies. A true picture of the society of the period is found in Smollett’s ‘Humphry Clinker’, [p37] which Aunt Celia says she will read and tell me what is necessary. Remember the window of the seven lights in the Abbey Church, the one with the angels ascending and descending; also the rich Perp. chantry of Prior Bird, S. of chancel. It is Murray who calls it a Perp. chantry, not I.


June 8.

It was very wet this morning, and I had breakfast in my room. The maid’s name is Hetty Precious, and I could eat almost anything brought me by such a beautifully named person. A little parcel postmarked Bath was on my tray, but as the address was printed, I have no clue to the sender. It was a wee copy of Jane Austen’s ‘Persuasion,’ which I have read before, but was glad to see again, because I had forgotten that the scene is partly laid in Bath, [p38] and now I can follow dear Anne and vain Sir Walter, hateful Elizabeth and scheming Mrs. Clay through Camden Place and Bath Street, Union Street, Milsom Street, and the Pump Yard. I can even follow them to the site of the White Hart Hotel, where the adorable Captain Wentworth wrote the letter to Anne. After more than two hundred pages of suspense, with what joy and relief did I read that letter! I wonder if Anne herself was any more excited than I?

At first I thought Roderick Abbott sent the book, until I remembered that his literary taste is Puck in America and Pick-me-up and Tit-Bits in England; and now I don’t know what to think. I turned to Captain Wentworth’s letter in the last chapter but one—oh, it is a beautiful letter! I wish somebody would ever write me that he is ‘half agony, half hope,’ and that I ‘pierce his soul.’ Of course, it [p39] would be wicked to pierce a soul, and of course they wouldn’t write that way nowadays; but there is something perfectly delightful about the expression.

Well, when I found the place, what do you suppose? Some of the sentences in the letter seem to be underlined ever so faintly; so faintly, indeed, that I cannot quite decide whether it’s my imagination or a lead-pencil, but this is the way it seems to look:

‘I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved [p40] none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. You alone have brought me to Bath. For you alone, I think and plan. Have you not seen this? Can you fail to have understood my wishes? I had not waited even these ten days, could I have read your feelings, as I think you must have penetrated mine. I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature! You do us justice indeed. You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in

‘F. W.’

Of course, this means nothing. Somebody has been reading the book, and [p41] marked it idly as he (or she) read. I can imagine someone’s underlining a splendid sentiment like ‘Dare not say that man forgets sooner than woman!’ but why should a reader lay stress on such a simple sentence as ‘You alone brought me to Bath’?


Gloucester, June 10,
The Golden Slipper.

Nothing accomplished yet. Her aunt is a Van Tyck, and a stiff one, too. I am a Copley, and that delays matters. Much depends upon the manner of approach. A false move would be fatal. We have seven more towns (as per itinerary), and if their thirst for cathedrals isn’t slaked when these are finished, we have the entire Continent to do. If I could only succeed in making an impression on the retina of Aunt Celia’s eye! Though I have been under her feet for ten days, she never yet [p42] has observed me. This absent-mindedness of hers serves me ill now, but it may prove a blessing later on.

I made two modest moves on the chessboard of Fate yesterday, but they were so very modest and mysterious that I almost fear they were never noticed.


Gloucester, June 10,
In Impossible Lodgings chosen by Me.

Something else awfully exciting has happened.

When we walked down the railway platform at Bath, I saw a pink placard pasted on the window of a first-class carriage. It had ‘VAN TYCK: RESERVED,’ written on it, after the English fashion, and we took our places without question. Presently Aunt Celia’s eyes and mine alighted at the same moment on a bunch of yellow primroses [p43] pinned on the stuffed back of the most comfortable seat next the window.

‘They do things so well in England,’ said Aunt Celia admiringly. ‘The landlord must have sent my name to the guard—you see the advantage of stopping at the best hotels, Katharine—but one would not have suspected him capable of such a refined attention as the bunch of flowers. You must take a few of them, dear; you are so fond of primroses.’

Oh! I am having a delicious time abroad! I do think England is the most interesting country in the world; and as for the cathedral towns, how can anyone bear to live anywhere else?


Oxford, June 12,
The Mitre.

It was here in Oxford that a grain of common-sense entered the brain of the [p44] flower of chivalry; you might call it the dawn of reason. We had spent part of the morning in High Street, ‘the noblest old street in England,’ as our dear Hawthorne calls it. As Wordsworth had written a sonnet about it, Aunt Celia was armed for the fray—a volume of Wordsworth in one hand, and one of Hawthorne in the other. (I wish Baedeker and Murray didn’t give such full information about what one ought to read before one can approach these places in a proper spirit.) When we had done High Street, we went to Magdalen College, and sat down on a bench in Addison’s Walk, where Aunt Celia proceeded to store my mind with the principal facts of Addison’s career, and his influence on the literature of the something or other century. The cramming process over, we wandered along, and came upon ‘him’ sketching a shady corner of the walk.

Aunt Celia went up behind him, and, Van Tyck though she is, she could not restrain her admiration of his work. I was surprised myself; I didn’t suppose so good-looking a youth could do such good work. I retired to a safe distance, and they chatted together. He offered her the sketch; she refused to take advantage of his kindness. He said he would ‘dash off’ another that evening and bring it to our hotel—‘so glad to do anything for a fellow-countryman,’ etc. I peeped from behind a tree and saw him give her his card. It was an awful moment; I trembled, but she read it with unmistakable approval, and gave him her own with an expression that meant, ‘Yours is good, but beat that if you can!’

She called to me, and I appeared. Mr. John Quincy Copley, Cambridge, was presented to her niece, Miss Katharine Schuyler, New York. It was over, and a [p46] very small thing to take so long about, too.

He is an architect, and, of course, has a smooth path into Aunt Celia’s affections. Theological students, ministers, missionaries, heroes, and martyrs she may distrust, but architects never!

‘He is an architect, my dear Katharine, and he is a Copley,’ she told me afterwards. ‘I never knew a Copley who was not respectable, and many of them have been more.’

After the introduction was over, Aunt Celia asked him guilelessly if he had visited any other of the English cathedrals. Any others, indeed!—this to a youth who had been all but in her lap for a fortnight. It was a blow, but he rallied bravely, and, with an amused look in my direction, replied discreetly that he had visited most of them at one time or another. I refused to let him see that I had ever noticed him before—that is, particularly.

I wish I had had an opportunity of talking to him of our plans, but just as I was leading the conversation into the proper channels, the waiter came in for breakfast orders—as if it mattered what one had for breakfast, or whether one had any at all. I can understand an interest in dinner or even in luncheon, but not in breakfast; at least not when more important things are under consideration.

* * * * *

Memoranda: ‘The very stones and mortar of this historic town seem impregnated with the spirit of restful antiquity.’ (Extract from one of Aunt Celia’s letters.) Among the great men who have studied here are the Prince of Wales, Duke of Wellington, Gladstone, Sir Robert Peel, Sir Philip Sidney, William Penn, John Locke, the two Wesleys, Ruskin, Ben Jonson, and Thomas Otway. (Look Otway up.)


Oxford, June 13,
The Angel.

I have done it, and if I hadn’t been a fool and a coward I might have done it a week ago, and spared myself a good deal of delicious torment. ‘How sweet must be Love’s self possessed, when but Love’s shadows are so rich in joy!’ or something of that sort.

I have just given two hours to a sketch of Addison’s Walk, and carried it to Aunt Celia at the Mitre. Object, to find out whether they make a long stay in London (our next point), and, if so, where. It seems they stop only a night. I said in the course of conversation:

‘So Miss Schuyler is willing to forego a London season? Marvellous self-denial!’

‘My niece did not come to Europe for a London season,’ replied Miss Van Tyck. ‘We go through London this time merely as [p49] a cathedral town, simply because it chances to be where it is geographically. We shall visit St. Paul’s and Westminster Abbey, and then go directly on, that our chain of impressions may have absolute continuity and be free from any disturbing elements.’

Oh, but she is lovely, is Aunt Celia! London a cathedral town!

Now, for my part, I should like to drop St. Paul’s for once, and omit Westminster Abbey for the moment, and sit on the top of a bus with Miss Schuyler or in a hansom jogging up and down Piccadilly. The hansom should have bouquets of paper-flowers in the windows, and the horse should wear carnations in his headstall, and Miss Schuyler should ask me questions, to which I should always know the right answers. This would be but a prelude, for I should wish later to ask her questions to which I should hope she would also know the right answers.

Heigho! I didn’t suppose that anything could be lovelier than that girl’s smile, but there is, and it is her voice.

I shall call there again to-morrow morning. I don’t know on what pretext, but I shall call, for my visit was curtailed this evening by the entrance of the waiter, who asked what they would have for breakfast. Miss Van Tyck said she would be disengaged in a moment, so naturally I departed, with a longing to knock the impudent waiter’s head against the uncomprehending wall. Breakfast indeed! A fellow can breakfast regularly, and yet be in a starving condition.


Oxford, June 14,
The Angel.

I have just called. They have gone! Gone hours before they intended! How shall I find her in London?


London, June 15,
Walsingham House Hotel.

As a cathedral town London leaves much to be desired. There are too many hotels, too many people, and the distances are too great. For ten hours I kept a hansom galloping between St. Paul’s and Westminster Abbey, with no result. I am now going to Ely, where I shall stay in the cathedral from morning till night, and have my meals brought to me on a tray by the verger.


Ely, June 15,
At Miss Kettlestring’s lodgings.

I have lost him! He was not at St. Paul’s or Westminster in London—great, cruel, busy, brutal London, that could swallow up any precious thing and make [p52] no sign. And he is not here! They say it is a very fine cathedral.

Memoranda: The Octagon is perhaps the most beautiful and original design to be found in the whole range of Gothic architecture. Remember also the retrochoir. The lower tier of windows consists of three long lancets, with groups of Purbeck shafts at the angles; the upper, of five lancets, diminishing from the centre, and set back, as in the clerestory, within an arcade supported by shafts. (I don’t believe even he could make head or tail of this.) Remember the curious bosses under the brackets of the stone altar in the Alcock Chapel. They represent ammonites projecting from their shells and biting each other. (If I were an ammonite I know I should bite Aunt Celia. Look up ammonite.)


Ely, June 18,
The Lamb Hotel.

I cannot find her! Am racked with rheumatic pains sitting in this big, empty, solitary, hollow, reverberating, damp, desolate, deserted cathedral hour after hour. On to Peterborough this evening.


Peterborough, June 18.

He is not here. The cathedral, even the celebrated west front, seems to me somewhat overrated. Catherine of Aragon (or one of those Henry the Eighth wives) is buried here, also Mary Queen of Scots; but I am tired of looking at graves, viciously tired, too, of writing in this trumpery note-book. We move on this afternoon.


Peterborough, June 19.

A few more days of this modern Love Chase will unfit me for professional work. Tried to draw the roof of the choir, a good specimen of early Perp., and failed. Studied the itinerary again to see if it had any unsuspected suggestions in cipher. No go! York and Durham were double-starred by the Aunt Celia’s curate as places for long stops. Perhaps we shall meet again there.

Lincoln, June 22,
The Black Boy Inn.

I am stopping at a beastly little hole, which has the one merit of being opposite Miss Schuyler’s lodgings, for I have found her at last. My sketch-book has deteriorated in artistic value during the last two weeks. Many of its pages, while interesting [p55] to me as reminiscences, will hardly do for family or studio exhibition. If I should label them, the result would be something like this:

1. Sketch of a footstool and desk where I first saw Miss Schuyler kneeling.

2. Sketch of a carved oak chair, Miss Schuyler sitting in it.

3. ‘Angel choir.’ Heads of Miss Schuyler introduced into the carving.

4. Altar screen. A row of full-length Miss Schuylers holding lilies.

5. Tomb of a bishop, where I tied Miss Schuyler’s shoe.

6. Tomb of another bishop, where I had to tie it again because I did it so badly the first time.

7. Sketch of the shoe, the shoe-lace worn out with much tying.

8. Sketch of the blessed verger who called her ‘Madam’ when we were walking together.

9. Sketch of her blush when he did it; the prettiest thing in the world.

10. Sketch of J. Q. Copley contemplating the ruins of his heart.

‘How are the mighty fallen!’

* * * * *


Lincoln, June 23,
At Miss Smallpage’s, Castle Garden.

This is one of the charmingest towns we have visited, and I am so glad Aunt Celia has a letter to the Canon in residence, because it may keep her contented.

We walked up Steep Hill this morning to see the Jews’ house, but long before we reached it I had seen Mr. Copley sitting on a camp-stool, with his easel in front of him. Wonderful to relate, Aunt Celia recognised him, and was most cordial in her greeting. As for me, I was never so embarrassed in my life. I felt as if he [p57] knew that I had expected to see him in London and Ely and Peterborough, though, of course, he couldn’t know it, even if he looked for, and missed, me in those three dreary and over-estimated places. He had made a most beautiful drawing of the Jews’ House, and completed his conquest of Aunt Celia by presenting it to her. I should like to know when my turn is coming; but, anyway, she asked him to luncheon, and he came, and we had such a cosy, homelike meal together. He is even nicer than he looks, which is saying a good deal more than I should, even to a locked book. Aunt Celia dozed a little after luncheon, and Mr. Copley almost talked in whispers, he was so afraid of disturbing her nap. It is just in these trifling things that one can tell a true man—courtesy to elderly people and consideration for their weaknesses. He has done something in the world; I was sure that he had. He [p58] has a little income of his own, but he is too proud and ambitious to be an idler. He looked so manly when he talked about it, standing up straight and strong in his knickerbockers. I like men in knickerbockers. Aunt Celia doesn’t. She says she doesn’t see how a well-brought-up Copley can go about with his legs in that condition. I would give worlds to know how Aunt Celia ever unbent sufficiently to get engaged. But, as I was saying, Mr. Copley has accomplished something, young as he is. He has built three picturesque suburban churches suitable for weddings, and a State lunatic asylum.

Aunt Celia says we shall have no worthy architecture until every building is made an exquisitely sincere representation of its deepest purpose—a symbol, as it were, of its indwelling meaning. I should think it would be very difficult to design a lunatic asylum on that basis, but I didn’t dare say [p59] so, as the idea seemed to present no incongruities to Mr. Copley. Their conversation is absolutely sublimated when they get to talking of architecture. I have just copied two quotations from Emerson, and am studying them every night for fifteen minutes before I go to sleep. I’m going to quote them some time offhand, just after matins, when we are wandering about the cathedral grounds. The first is this: ‘The Gothic cathedral is a blossoming in stone, subdued by the insatiable demand of harmony in man. The mountain of granite blooms into an eternal flower, with the lightness and delicate finish as well as the aerial proportion and perspective of vegetable beauty.’ Then when he has recovered from the shock of this, here is my second: ‘Nor can any lover of nature enter the old piles of English cathedrals without feeling that the forest overpowered the mind of the builder, and that his chisel, [p60] his saw and plane still reproduced its ferns, its spikes of flowers, its locust, elm, pine, and spruce.’

Memoranda: Lincoln choir is an example of Early English or First Pointed, which can generally be told from something else by bold projecting buttresses and dog-tooth moulding round the abacusses. (The plural is my own, and it does not look right.) Lincoln Castle was the scene of many prolonged sieges, and was once taken by Oliver Cromwell.

* * * * *


York, June 26,
The Black Swan.

Kitty Schuyler is the concentrated essence of feminine witchery. Intuition strong, logic weak, and the two qualities so balanced as to produce an indefinable charm; will-power large, but docility equal, [p61] if a man is clever enough to know how to manage her; knowledge of facts absolutely nil, but she is exquisitely intelligent in spite of it. She has a way of evading, escaping, eluding, and then gives you an intoxicating hint of sudden and complete surrender. She is divinely innocent, but roguishness saves her from insipidity. Her looks? She looks as you would imagine a person might look who possessed these graces; and she is worth looking at, though every time I do it I have a rush of love to the head. When you find a girl who combines all the qualities you have imagined in the ideal, and who has added a dozen or two on her own account, merely to distract you past all hope, why stand up and try to resist her charm? Down on your knees like a man, say I!

* * * * *

I’m getting to adore Aunt Celia. I didn’t care for her at first, but she is so [p62] deliciously blind. Anything more exquisitely unserviceable as a chaperon I can’t imagine. Absorbed in antiquity, she ignores the babble of contemporaneous lovers. That any man could look at Kitty when he could look at a cathedral passes her comprehension. I do not presume too greatly on her absent-mindedness, however, lest she should turn unexpectedly and rend me. I always remember that inscription on the backs of the little mechanical French toys: ‘Quoiqu’elle soit très solidement montée, il faut ne pas brutaliser la machine.’

And so my courtship progresses under Aunt Celia’s very nose. I say ‘progresses’; but it is impossible to speak with any certainty of courting, for the essence of that gentle craft is hope, rooted in labour and trained by love.

[p63] She ignores the babble of contemporaneous lovers

I set out to propose to her during service this afternoon by writing my feelings [p64] on the flyleaf of the hymn-book, or something like that; but I knew that Aunt Celia would never forgive such blasphemy, and I thought that Kitty herself might consider it wicked. Besides, if she should chance to accept me, there was nothing I could do in a cathedral to relieve my feelings. No; if she ever accepts me, I wish it to be in a large, vacant spot of the universe, peopled by two only, and those two so indistinguishably blended, as it were, that they would appear as one to the casual observer. So I practised repression, though the wall of my reserve is worn to the thinness of thread-paper, and I tried to keep my mind on the droning minor canon, and not to look at her, ‘for that way madness lies.’

* * * * *


York, June 28,
High Petergate Street.

My taste is so bad! I just begin to realize it, and I am feeling my ‘growing pains,’ like Gwendolen in ‘Daniel Deronda.’ I admired the stained glass in the Lincoln Cathedral the other day, especially the Nuremberg window. I thought Mr. Copley looked pained, but he said nothing. When I went to my room, I consulted a book and found that all the glass in that cathedral is very modern and very bad, and the Nuremberg window is the worst of all. Aunt Celia says she hopes that it will be a warning to me to read before I speak; but Mr. Copley says no, that the world would lose more in one way than it would gain in the other. I tried my quotations this morning, and stuck fast in the middle of the first.

Mr. Copley thinks I have been feeing [p66] the vergers too liberally, so I wrote a song about it called ‘The Ballad of the Vergers and the Foolish Virgin,’ which I sang to my guitar. Mr. Copley thinks it is cleverer than anything he ever did with his pencil. Of course, he says that only to be agreeable; but really, whenever he talks to me in that way, I can almost hear myself purring with pleasure.

We go to two services a day in the minster, and sometimes I sit quite alone in the nave drinking in the music as it floats out from behind the choir-screen. The Litany and the Commandments are so beautiful heard in this way, and I never listen to the fresh, young voices chanting ‘Write all these Thy laws in our hearts, we beseech Thee,’ without wanting passionately to be good. I love, too, the joyful burst of music in the Te Deum: ‘Thou didst open the kingdom of heaven to all believers.’ I like that word ‘all’; [p67] it takes in foolish me, as well as wise Aunt Celia.

And yet, with all its pomp and magnificence, the service does not help me quite so much nor stir up the deep places, in me so quickly as dear old Dr. Kyle’s simpler prayers and talks in the village meeting-house where I went as a child. Mr. Copley has seen it often, and made a little picture of it for me, with its white steeple and the elm-tree branches hanging over it. If I ever have a husband I should wish him to have memories like my own. It would be very romantic to marry an Italian marquis or a Hungarian count, but must it not be a comfort to two people to look back on the same past?

* * * * *

We all went to an evening service last night. It was an ‘occasion,’ and a famous organist played the Minster organ.

I wonder why choir-boys are so often [p68] playful and fidgety and uncanonical in behaviour? Does the choirmaster advertise ‘Naughty boys preferred,’ or do musical voices commonly exist in unregenerate bodies? With all the opportunities they must have outside of the cathedral to exchange those objects of beauty and utility usually found in boys’ pockets, there is seldom a service where they do not barter penknives, old coins, or tops, generally during the Old Testament reading. A dozen little black-surpliced ‘probationers’ sit together in a seat just beneath the choir-boys, and one of them spent his time this evening in trying to pull a loose tooth from its socket. The task not only engaged all his own powers, but made him the centre of attraction for the whole probationary row.

Coming home, Aunt Celia walked ahead with Mrs. Benedict, who keeps turning up at the most unexpected moments. She’s going to build a Gothicky memorial chapel [p69] somewhere, and is making studies for it. I don’t like her in the least, but four is certainly a more comfortable number than three. I scarcely ever have a moment alone with Mr. Copley, for, go where I will and do what I please, as Aunt Celia has the most perfect confidence in my indiscretion, she is always en évidence.

Just as we were turning into the quiet little street where we are lodging, I said:

‘Oh dear, I wish that I really knew something about architecture!’

‘If you don’t know anything about it, you are certainly responsible for a good deal of it,’ said Mr. Copley.

‘I? How do you mean?’ I asked quite innocently, because I couldn’t see how he could twist such a remark as that into anything like sentiment.

‘I have never built so many castles in my life as since I’ve known you, Miss Schuyler,’ he said.

‘Oh,’ I answered as lightly as I could, ‘air-castles don’t count.’

‘The building of air-castles is an innocent amusement enough, I suppose,’ he said; ‘but I’m committing the folly of living in mine. I—’

Then I was frightened. When, all at once, you find you have something precious that you only dimly suspected was to be yours, you almost wish it hadn’t come so soon. But just at that moment Mrs. Benedict called to us, and came tramping back from the gate, and hooked her supercilious, patronizing arm in Mr. Copley’s, and asked him into the sitting-room to talk over the ‘lady-chapel’ in her new memorial church. Then Aunt Celia told me they would excuse me, as I had had a wearisome day; and there was nothing for me to do but to go to bed, like a snubbed child, and wonder if I should ever know the end of that sentence. And I listened [p71] at the head of the stairs, shivering, but all that I could hear was that Mrs. Benedict asked Mr. Copley to be her own architect. Her architect, indeed! That woman ought not to be at large—so rich and good-looking and unconscientious!

* * * * *


York, July 5.

I had just established myself comfortably near to Miss Van Tyck’s hotel, and found a landlady after my own heart in Mrs. Pickles, No. 6, Micklegate, when Miss Van Tyck, aided and abetted, I fear, by the romantic Miss Schuyler, elected to change her quarters, and I, of course, had to change too. Mine is at present a laborious (but not unpleasant) life. The causes of Miss Schuyler’s removal, as I have been given to understand by the lady herself, were some particularly pleasing window-boxes in a lodging in High Petergate [p72] Street; boxes overflowing with pink geraniums and white field-daisies. No one (she explains) could have looked at this house without desiring to live in it; and when she discovered, during a somewhat exhaustive study of the premises, that the maid’s name was Susan Strangeways, and that she was promised in marriage to a brewer’s apprentice called Sowerbutt, she went back to her conventional hotel and persuaded her aunt to remove without delay. If Miss Schuyler were offered a room at the Punchbowl Inn in the Gillygate and a suite at the Grand Royal Hotel in Broad Street, she would choose the former unhesitatingly; just as she refused refreshment at the best caterer’s this afternoon and dragged Mrs. Benedict and me into ‘The Little Snug,’ where an alluring sign over the door announced ‘A Homely Cup of Tea for Twopence.’ But she would outgrow all that; or, if she didn’t, I have [p73] common-sense enough for two; or if I hadn’t, I shouldn’t care a hang.

Is it not a curious dispensation of Providence that, just when Aunt Celia is confined to her room with a cold, Mrs. Benedict should join our party and spend her days in our company? She drove to the Merchants’ Hall and the Cavalry Barracks with us, she walked on the city walls with us, she even dared the ‘homely’ tea at ‘The Little Snug’; and at that moment I determined I wouldn’t build her memorial church for her, even at a most princely profit.

On crossing Lendal Bridge we saw the river Ouse running placidly through the town, and a lot of little green boats moored at a landing-stage.

‘How delightful it would be to row for an hour!’ exclaimed Miss Schuyler.

‘Oh, do you think so, in those tippy boats on a strange river?’ remonstrated Mrs. Benedict.

The moment I suspected she was afraid of the water, I lured her to the landing-stage and engaged a boat.

‘It’s a pity that that large flat one has a leak, otherwise it would have held three nicely; but I dare say we can be comfortable in one of the little ones,’ I said doubtfully.

‘Shan’t we be too heavy for it?’ Mrs. Benedict inquired timidly.

‘Oh, I don’t think so. We’ll get in and try it. If we find it sinks under our weight we won’t risk it,’ I replied, spurred on by such twinkles in Miss Schuyler’s eyes as blinded me to everything else.

‘I really don’t think your aunt would like you to venture, Miss Schuyler,’ said the marplot.

‘Oh, as to that, she knows I am accustomed to boating,’ replied Miss Schuyler.

‘And Miss Schuyler is such an excellent swimmer,’ I added.

Whereupon the marplot and killjoy [p75] remarked that if it were a question of swimming she should prefer to remain at home, as she had large responsibilities devolving upon her, and her life was in a sense not her own to fling away as she might like.

I assured her solemnly that she was quite, quite right, and pushed off before she could change her mind.

After a long interval of silence, Miss Schuyler observed in the voice, accompanied by the smile and the glance of the eye, that ‘did’ for me the moment I was first exposed to them:

‘You oughtn’t to have said that about my swimming, because I can’t a bit, you know.’

‘I was justified,’ I answered gloomily. ‘I have borne too much to-day, and if she had come with us and had fallen overboard, I might have been tempted to hold her down with the oar.’

Whereupon Miss Schuyler gave way to [p76] such whole-hearted mirth that she nearly upset the boat. I almost wish she had! I want to swim, sink, die, or do any other mortal thing for her.

We had a heavenly hour. It was only an hour, but it was the first time I have had any real chance to direct hot shot at the walls of the maiden castle. I regret to state that they stood remarkably firm. Of course, I don’t wish to batter them down; I want them to melt under the warmth of my attack.


York, July 5.

We had a lovely sail on the river Ouse this afternoon. Mrs. Benedict was timid about boating, and did not come with us. As a usual thing, I hate a cowardly woman, but her lack of courage is the nicest trait in her whole character; I might almost say the only nice trait.

Mr. Copley tried in every way, short of asking me a direct question, to find out whether I had received the marked copy of ‘Persuasion’ in Bath, but I evaded the point.

Just as we were at the door of my lodging, and he was saying good-bye, I couldn’t resist the temptation of asking:

‘Why, before you knew us at all, did you put “Miss Van Tyck: Reserved,” on the window of the railway carriage at Bath?’

He was embarrassed for a moment, and then he said:

‘Well, she is, you know, if you come to that; and, besides, I didn’t dare tell the guard the placard I really wanted to put on.’

‘I shouldn’t think a lack of daring your most obvious fault,’ I said cuttingly.

‘Perhaps not; but there are limits to most things, and I hadn’t the pluck to paste on a pink paper with “Miss Schuyler: Engaged,” on it.’

He disappeared suddenly just then, as if he wasn’t equal to facing my displeasure, and I am glad he did, for I was too embarrassed for words.

Memoranda: In the height of roofs, nave, and choir, York is first of English cathedrals.


Durham, July something or other,
At Farmer Hendry’s.

We left York this morning, and arrived in Durham about eleven o’clock. It seems there is some sort of an election going on in the town, and there was not a single fly at the station. Mr. Copley looked about in every direction, but neither horse nor vehicle was to be had for love or money. At last we started to walk to the village, Mr. Copley so laden with our hand-luggage that he resembled a pack mule.

We called first at the Three Tuns, where [p79] they still keep up the old custom of giving a wee glass of cherry-brandy to each guest on his arrival; but, alas! they were crowded, and we were turned from the hospitable door. We then made a tour of the inns, but not a single room was to be had, not for that night, nor for two days ahead, on account of that same election.

‘Hadn’t we better go on to Edinburgh, Aunt Celia?’ I asked, as we were resting in the door of the Jolly Sailor.

‘Edinburgh? Never!’ she replied. ‘Do you suppose that I would voluntarily spend a Sunday in those bare Presbyterian churches until the memory of these past ideal weeks has faded a little from my memory? What! leave out Durham and spoil the set?’ (In her agitation and disappointment she spoke of the cathedrals as if they were souvenir spoons.) ‘I intended to stay here for a week or more, [p80] and write up a record of our entire trip from Winchester while the impressions were fresh in my mind.’

‘And I had intended doing the same thing,’ said Mr. Copley. ‘That is, I hoped to finish off my previous sketches, which are in a frightful state of incompletion, and spend a good deal of time on the interior of this cathedral, which is unusually beautiful.’

At this juncture Aunt Celia disappeared for a moment to ask the barmaid if, in her opinion, the constant consumption of malt liquors prevents a more dangerous indulgence in brandy and whisky. She is gathering statistics, but as the barmaids can never collect their thoughts while they are drawing ale, Aunt Celia proceeds slowly.

‘For my part,’ said I, with mock humility, ‘I am a docile person, who never has any intentions of her own, but who [p81] yields herself sweetly to the intentions of other people in her immediate vicinity.’

‘Are you?’ asked Mr. Copley, taking out his pencil.

‘Yes, I said so. What are you doing?’

‘Merely taking note of your statement, that’s all. Now, Miss Van Tyck’ (of course Aunt Celia appeared at this delightful moment), ‘I have a plan to propose. I was here last summer with a couple of Harvard men, and we lodged at a farmhouse about a mile distant from the cathedral. If you will step into the coffee-room for an hour, I’ll walk up to Farmer Hendry’s and see if they will take us in. I think we might be fairly comfortable.’

‘Can Aunt Celia have Apollinaris and black coffee after her morning bath?’ I asked.

‘I hope, Katharine,’ said Aunt Celia majestically—‘I hope that I can accommodate myself to circumstances. If [p82] Mr. Copley can secure apartments for us, I shall be more than grateful.’

So here we are, all lodging together in an ideal English farmhouse. There is a thatched roof on one of the old buildings, and the dairy-house is covered with ivy, and Farmer Hendry’s wife makes a real English curtsey, and there are herds of beautiful sleek Durham cattle, and the butter and cream and eggs and mutton are delicious, and I never, never want to go home any more. I want to live here for ever and wave the American flag on Washington’s birthday.

I am so happy that I feel as if something were going to spoil it all. Twenty years old to-day! I wish mamma were alive to wish me many happy returns.

The cathedral is very beautiful in itself, and its situation is beyond all words of mine to describe. I greatly admired the pulpit, which is supported by five pillars [p83] sunk into the backs of squashed lions; but Mr. Copley, when I asked him the period, said, ‘Pure Brummagem!’

There is a nice old cell for refractory monks, that we agreed will be a lovely place for Mrs. Benedict if we can lose her in it. She arrives as soon as they can find room for her at the Three Tuns.

Memoranda:—Casual remark for breakfast-table or perhaps for luncheon—it is a trifle heavy for breakfast: ‘Since the sixteenth century, and despite the work of Inigo Jones and the great Wren (not Jenny Wren: Christopher), architecture has had, in England especially, no legitimate development.’ This is the only cathedral with a Bishop’s Throne or a Sanctuary Knocker.

* * * * *


Durham, July 19.

O child of fortune, thy name is J. Q. Copley! How did it happen to be election time? Why did the inns chance to be full? How did Aunt Celia relax sufficiently to allow me to find her a lodging? Why did she fall in love with the lodging when found? I do not know. I only know Fate smiles; that Kitty and I eat our morning bacon and eggs together; that I carve Kitty’s cold beef and pour Kitty’s sparkling ale at luncheon; that I go to matins with Kitty, and dine with Kitty, and walk in the gloaming with Kitty—and Aunt Celia. And after a day of heaven like this, like Lorna Doone’s lover—ay, and like every other lover, I suppose—I go to sleep, and the roof above me swarms with angels, having Kitty under it.

She was so beautiful on Sunday. She has been wearing her favourite browns and primroses through the week, but on Sunday she blossomed into blue and white, topped by a wonderful hat, whose brim was laden with hyacinths. She sat on the end of a seat in the nave, and there was a capped and gowned crowd of university students in the transept. I watched them and they watched her. She has the fullest, whitest eyelids, and the loveliest lashes. When she looks down I wish she might never look up, and when she looks up I am never ready for her to look down. If it had been a secular occasion, and she had dropped her handkerchief, seven-eighths of the students would have started to pick it up—but I should have got there first! Well, all this is but a useless prelude, for there are facts to be considered—delightful, warm, breathing facts!

We were coming home from evensong, [p86] Kitty and I. (I am anticipating, for she was still ‘Miss Schuyler’ then, but never mind.) We were walking through the fields, while Mrs. Benedict and Aunt Celia were driving. As we came across a corner of the bit of meadow land that joins the stable and the garden, we heard a muffled roar, and as we looked around we saw a creature with tossing horns and waving tail making for us, head down, eyes flashing. Kitty gave a shriek. We chanced to be near a pair of low bars. I hadn’t been a college athlete for nothing. I swung Kitty over the bars, and jumped after her. But she, not knowing in her fright where she was nor what she was doing, supposing also that the mad creature, like the villain in the play, would ‘still pursue her,’ flung herself bodily into my arms, crying, ‘Jack! Jack! save me!’

It was the first time she had called me ‘Jack,’ and I needed no second invitation. [p87] I proceeded to save her, in the usual way, by holding her to my heart and kissing her lovely hair reassuringly as I murmured:

‘You are safe, my darling; not a hair of your precious head shall be hurt. Don’t be frightened.’

She shivered like a leaf.

‘I am frightened,’ she said; ‘I can’t help being frightened. He will chase us, I know. Where is he? What is he doing now?’

Looking up to determine if I need abbreviate this blissful moment, I saw the enraged animal disappearing in the side-door of the barn; and it was a nice, comfortable Durham cow, that somewhat rare but possible thing—a sportive cow.

‘Is he gone?’ breathed Kitty from my waistcoat.

‘Yes, he is gone—she is gone, darling. But don’t move; it may come again.’

My first too hasty assurance had calmed Kitty’s fears, and she raised her charming flushed face from its retreat and prepared to withdraw. I did not facilitate the preparations, and a moment of awkward silence ensued.

‘Might I inquire,’ I asked, ‘if the dear little person at present reposing in my arms will stay there (with intervals for rest and refreshment) for the rest of her natural life?’

She withdrew entirely now, all but her hand, and her eyes sought the ground.

‘I suppose I shall have to—that is, if you think—at least, I suppose you do think—at any rate, you look as if you were thinking—that this has been giving you encouragement.’

‘I do indeed—decisive, undoubted, bare-faced encouragement.’

‘I don’t think I ought to be judged as [p89] if I were in my sober senses,’ she replied. ‘I was frightened within an inch of my life. I told you this morning that I was dreadfully afraid of bulls, especially mad ones, and I told you that my nurse frightened me, when I was a child, with awful stories about them, and that I never outgrew my childish terror. I looked everywhere about. The barn was too far, the fence too high; I saw him coming, and there was nothing but you and the open country. Of course, I took you. It was very natural, I’m sure; any girl would have done it.’

‘To be sure,’ I replied soothingly, ‘any girl would have run after me, as you say.’

‘I didn’t say any girl would have run after you—you needn’t flatter yourself; and besides, I think I was really trying to protect you as well as to gain protection, else why should I have cast myself on you [p90] like a catamount, or a catacomb, or whatever the thing is?’

‘Yes, darling, I thank you for saving my life, and I am willing to devote the remainder of it to your service as a pledge of my gratitude; but if you should take up life-saving as a profession, dear, don’t throw yourself on a fellow with—’

‘Jack! Jack!’ she cried, putting her hand over my lips, and getting it well kissed in consequence. ‘If you will only forget that, and never, never taunt me with it afterwards, I’ll—I’ll—well, I’ll do anything in reason—yes, even marry you!’

* * * * *


Canterbury, July 31,
The Royal Fountain.

I was never sure enough of Kitty, at first, to dare risk telling her about that [p91] little mistake of hers. She is such an elusive person that I spend all my time in wooing her, and can never lay the flattering unction to my soul that she is really won.

But after Aunt Celia had looked up my family record and given a provisional consent, and Papa Schuyler had cabled a reluctant blessing, I did not feel capable of any further self-restraint.

It was twilight here in Canterbury, and we were sitting on the vine-shaded veranda of Aunt Celia’s lodging. Kitty’s head was on my shoulder. There is something very queer about that; when Kitty’s head is on my shoulder, I am not capable of any consecutive train of thought. When she puts it there I see stars, then myriads of stars, then, oh! I can’t begin to enumerate the steps by which ecstasy mounts to delirium; but, at all events, any operation which demands exclusive use of the intellect [p92] is beyond me at these times. Still, I gathered my stray wits together, and said:


‘Yes, Jack?’

‘Now that nothing but death or marriage can separate us, I have something to confess to you.’

‘Yes,’ she said serenely, ‘I know what you are going to say. He was a cow.’

I lifted her head from my shoulder sternly, and gazed into her childlike, candid eyes.

‘You mountain of deceit! How long have you known about it?’

[p93] “Lor’, miss!” said Farmer Hendry, “he haven’t
been pastured there for three weeks”

‘Ever since the first. Oh, Jack, stop looking at me in that way! Not the very first, not when I—not when you—not when we—no, not then, but the next morning, I said to Farmer Hendry, “I wish you would keep your savage bull [p94] chained up while we are here; Aunt Celia is awfully afraid of them, especially those that go mad, like yours!” “Lor’, miss!” said Farmer Hendry, “he haven’t been pastured here for three weeks. I keep him six mile away. There ben’t nothing but gentle cows in the home medder.” But I didn’t think that you knew, you secretive person! I dare say you planned the whole thing in advance, in order to take advantage of my fright!’

‘Never! I am incapable of such an unnecessary subterfuge! Besides, Kitty, I could not have made an accomplice of a cow, you know.’

‘Then,’ she said, with great dignity, ‘if you had been a gentleman and a man of honour, you would have cried, “Unhand me, girl! You are clinging to me under a misunderstanding!”’


Chester, August 8,
The Grosvenor.

Jack and I are going over this same ground next summer on our wedding journey. We shall sail for home next week, and we haven’t half done justice to the cathedrals. After the first two, we saw nothing but each other on a general background of architecture. I hope my mind is improved, but oh, I am so hazy about all the facts I have read since I knew Jack! Winchester and Salisbury stand out superbly in my memory. They acquired their ground before it was occupied with other matters. I shall never forget, for instance, that Winchester has the longest spire and Salisbury the highest nave of all the English cathedrals. And I shall never forget so long as I live that Jane Austen and Isaac Newt— Oh [p96] dear! was it Isaac Newton or Izaak Walton that was buried in Winchester and Salisbury? To think that that interesting fact should have slipped from my mind, after all the trouble I took with it! But I know that it was Isaac somebody, and that he was buried in—well, he was buried in one of those two places. I am not certain which, but I can ask Jack; he is sure to know.



A Selection of Gift-Books

The books in this list can be seen at the chief Booksellers, but in any case Gay and Bird will arrange to send any on approval to the nearest book-store, to suit the convenience of book-buyers, upon receipt of postcard.

HOLIDAY EDITION. Illustrated by Charles E. Brock. Price 6s.



HOLIDAY EDITION. Uniform with the above and illustrated by Charles E. Brock. Price 6s.


Over 150,000 copies of these two works have been sold in England and America, and the unanimous opinion of the World’s Press is expressed in the word ‘DELIGHTFUL.’

‘The reader is kept entertained in the brightest fashion throughout…. A true humorist.’—Literary World.

‘The most charming holiday book possible.’—Methodist Times.

‘One of the very best holiday books.’—Sketch.

‘So genial and jolly a book about Scotland is seldom written.’—Glasgow Herald.

‘A delightful book, full of dainty humour and picturesque fun.’—World.

‘Sure of a hearty welcome.’—Spectator.

‘She is what is always and everywhere rare—a real humorist.’—Graphic.

‘Penelope, Francesca, and Salemina leave Max O’Rell far behind, and might take the prize for innocent fun even from Mr. Jerome.’—Dundee Advertiser.

‘Irresistibly funny.’—Glasgow Daily Mail.

‘Always a pleasure to read Mrs. Wiggin’s books.’—Daily Telegraph.

‘Mrs. Wiggin has a fund of genuine and refined humour that is simply irresistible.’—Pall Mall Gazette.

‘It is seldom that we have read a more delightful and humorous book than this.’—Church Times.


Penelope’s Irish Experiences.

Sixth Edition. Crown 8vo., cloth gilt, 6s.

A Cathedral Courtship.

A New Edition, revised and enlarged. With six full-page Drawings by Charles E. Brock. Crown 8vo., 104 pages, cloth, 2s. 6d., or cloth gilt extra, with gilt edges, 3s. 6d.

Marm Liza.

Crown 8vo., cloth gilt, 6s.

Baron de Bookworms says: ‘It is a story told with that rare combination of humour and pathos that is genius.’

‘Mrs. Wiggin has never written a better book, unless it be “Timothy’s Quest.”’—Queen.

Polly Oliver’s Problem. A Story for Girls.

Fourth Edition. With eight illustrations, crown 8vo., cloth gilt, 3s. 6d.

‘No page will be skipped; surely Louisa Alcott has at last found a successor.’—Scottish Leader.

A Summer in a Cañon. A California Story.

Illustrated, crown 8vo., cloth, 3s. 6d.

‘The work is a fresh and charming tale of country life in California, full of good spirits and healthy thoughts.’—Scotsman.

Village Watch Tower.

Crown 8vo., cloth, tastefully bound, 3s. 6d.

Mr. W. L. Courtney, in the Daily Telegraph, says: ‘It is the exquisite felicity of the whole which strikes the reader; hardly a word too much, not a colour or a pencil-stroke amiss.’

The Story of Patsy.

Fifty-seventh Thousand. Illustrated, crown 8vo., cloth back, 1s. 6d.

The Birds’ Christmas Carol.

One Hundred and Fiftieth Thousand. Eight charming illustrations, crown 8vo., cloth back, 1s. 6d.

Timothy’s Quest.

Popular Edition. Ninety-sixth Thousand. Illustrated by Oliver Herford. Crown 8vo., tastefully bound in cloth, 2s. 6d.

‘The book is an almost perfect idyll. It is the best thing of the kind that has reached us from America since “Little Lord Fauntleroy” crossed the Atlantic.’—Punch.

Modern Daughters.

Being Conversations with various American Girls and One Man. By Alexander Black. Profusely illustrated with designs and photographs by the Author. Royal 8vo., elegantly bound in silk cloth, with charming cameo portrait on side, 10s. 6d. net.

‘Particularly fresh and original in idea is “Modern Daughters.” Mr. Black has written some exceedingly clever conversations, which give us verbal pictures, so to speak, of some characteristic types of American womanhood. The chapters called “With a Gym Girl” and “With a Club Woman” are specially successful. There is a perception and a sense of humour about them which make them not only delightful to read, but worth thinking about afterwards. The illustrations, which are excellent, consist mainly of portraits which would be recognised at once by anyone familiar with the American Society of to-day—a fact which should make the book interesting to American women in London. The volume is well and prettily bound, and its “get-up” is admirable. It is quite a book to possess.’—World.

The Ancient Mariner. A Choice Gift Book.

By S. T. Coleridge. With six full-page illustrations reproduced in photogravure, and other text illustrations by Herbert Cole. Foolscap 4to. Printed on one side of the paper only, by T. and A. Constable, on a special antique wove paper, cloth, richly gilt side design, 5s. net.

ÉDITION DE LUXE, printed on hand-made paper and bound in half-vellum. Limited to 200 copies, 10s. 6d. net.

‘The one thing that can justify this re-issue of Coleridge’s classic poem is the excellent illustrative work done by Mr. Cole.’—King.

‘Nearly every feature of this little book is tasteful and appropriate. Praise is due to the typography, paper, and binding, and, above all, to Mr. Cole’s highly dramatic and spirited designs, of which the best shows the bride, her groom, and the “merry minstrelsy” entering the hall.’—Athenæum.

‘A beautiful edition—beautiful in print and paper, and, above all, beautifully illustrated. Mr. Herbert Cole’s pictures are, indeed, the finest of their kind we have come across for a long time, and they are reproduced with rarest skill. All concerned are to be congratulated on a most successful production.’—Bookman.

A Book of Elfin Rhymes.

Verses by Norman. With forty full-page illustrations in three colours. Illustrated by Carton Moore Park. Size 9½ by 7½. Beautifully printed on art paper and attractively bound with special side design, 5s.

‘An admirable book…. Children will revel in this bright and genuinely amusing book of coloured pictures and entertaining rhymes. The artist has a genuine sense of humour, as well as much technical skill, and his sketches are artistic in more than the hackneyed sense of that oft-abused word.’—Lady’s Pictorial.

‘One of the books of rhymes which are bound to become favourites with young people and old alike is “Elfin Rhymes.” The rhymes are lively and have the proper “jingle;” the illustrations are very clever.’—Westminster Gazette.


Paris of To-Day.

An Intimate Account of its People, its Home Life, and its Places of Interest. By Katharine de Forest. Profusely illustrated, crown 8vo., cloth, 3s. 6d.

‘A better book than this on Paris intime has not chanced in our way.’—Daily Chronicle.

‘This is not by any means a guide book; it is something far better.’—Spectator.

The American in Holland.

Sentimental Rambles in the Eleven Provinces of the Netherlands. By Dr. William Elliot Griffis. With seventeen full-page illustrations and maps. Demy 8vo., cloth gilt, gilt top, 7s. 6d.

In and Out of Three Normandy Inns.

By Anna Bowman Dodd. With many illustrations by C. S. Reinhart and others. Demy 8vo., cloth gilt, 7s. 6d. net.

Under the Cactus Flag.

A Story of Life in Mexico. By Nora Archibald Smith. Eight illustrations, crown 8vo., cloth extra, 5s.

‘It is full of fresh and charming pictures of the country and of the ways and character of the Mexicans, giving in these ample evidence that its studies have been made from nature.’—Scotsman.

Japanese Girls and Women.

By Alice Mabel Bacon. Holiday Edition. Revised and enlarged. With twelve full-page illustrations in colour, and fifty page and text illustrations, the work of Japanese artists. Crown 8vo., cloth gilt. Probable price 7s. 6d. net.

Paris in its Splendour.

By Reynolds Ball. Illustrated with numerous half-tone plates, handsomely bound in cloth, richly gilt. Two vols., demy 8vo., 21s. net.


By C. E. Clement. With twenty photogravures of views and objects of interest, richly bound and gilt, and enclosed in cloth box. 2 vols., demy 8vo., 25s. net.


End of Project Gutenberg's A Cathedral Courtship, by Kate Douglas Wiggin


***** This file should be named 25493-h.htm or *****
This and all associated files of various formats will be found in:

Produced by David Wilson and the Online Distributed
Proofreading Team at

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial



To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at

Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (,
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.


1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal

defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at

Section 3.  Information about the Project Gutenberg Literary Archive

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:

Section 5.  General Information About Project Gutenberg-tm electronic

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.