Whilst living in Fredericton my sister formed many close friendships.

It was here she first met Colonel and Mrs. Fox Strangways. In the society of Bishop Medley and his wife she had also great happiness, and with the former she and Major Ewing used to study Hebrew. The cathedral services were a never-failing source of comfort, and at these her husband frequently played the organ, especially on occasions when anthems, which he had written at the bishop's request, were sung.

To the volume of _Aunt Judy's Magazine_ for 1870 she gave "Amelia and the Dwarfs," and "Christmas Crackers," "Benjy in Beastland," and eight[14] "Old-fashioned Fairy Tales." "Amelia" is one of her happiest combinations of real child life and genuine fairy lore. The dwarfs inspired Mr. Cruikshank[15] to one of his best water-colour sketches: who is the happy possessor thereof I do not know, but the woodcut ill.u.s.tration very inadequately represents the beauty and delicacy of the picture.

[Footnote 14: Letter, s.e.xagesima, 1869.]

[Footnote 15: Letters, August 3, 1880.]

[Ill.u.s.tration: IN THE DEAR OLD CAMP. NO. 1 HUT, X LINES, SOUTH CAMP.]

Whilst speaking of the stories in this volume of _Aunt Judy's Magazine_, I must stop to allude to one of the strongest features in Julie's character, namely, her love for animals. She threw over them, as over everything she touched, all the warm sympathy of her loving heart, and it always seemed to me as if this enabled her almost to get inside the minds of her pets, and know how to describe their feelings.[16]

[Footnote 16: October 20, 1868.]

Another Beast Friend whom Julie had in New Brunswick was the Bear of the 22nd Regiment, and she drew a sketch of him "with one of his pet black dogs, as I saw them, 18th September, 1868, near the Officers'

Quarters, Fredericton, N.B. The Bear is at breakfast, and the dog occasionally licks his nose when it comes up out of the bucket."

[Ill.u.s.tration: CAN HANG NO WEIGHT UPON MY HEART.]

The pink-nosed bull-dog in "Amelia" bears a strong likeness to a well-beloved "Hector," whom she took charge of in Fredericton whilst his master had gone on leave to be married in England. Hector, too, was "a snow-white bull-dog (who was certainly as well bred and as amiable as any living creature in the kingdom)," with a pink nose that "became crimson with increased agitation." He was absolutely gentle with human beings, but a hopeless adept at fighting with his own kind, and many of my sister's letters and note-books were adorned with sketches of Hector as he appeared swollen about the head, and subdued in spirits, after some desperate encounter; or, with cards spread out in front of him, playing, as she delighted to make him do, at "having his fortune told."[17] But, instead of the four Queens standing for four ladies of different degrees of complexion, they represented his four favourite dishes of--1. Welsh rabbit. 2. Blueberry pudding. 3.

Pork sausages. 4. Buckwheat pancakes and mola.s.ses; and "the Fortune"

decided which of these dainties he was to have for supper.

[Ill.u.s.tration: THE BULLDOGUE's FORTUNE]

[Footnote 17: Letter, November 3, 1868.]

Shortly before the Ewings started from Fredericton they went into the barracks, whence a battalion of some regiment had departed two days before, and there discovered a large black retriever who had been left behind. It is needless to say that this deserted gentleman entirely overcame their feelings; he was at once adopted, named "Trouve," and brought home to England, where he spent a very happy life, chiefly in the South Camp, Aldershot, his one danger there being that he was such a favourite with the soldiers, they over-fed him terribly. Never did a more benevolent disposition exist, his broad forehead and kind eyes, set widely apart, did not belie him; there was a strong strain of Newfoundland in his breed, and a strong likeness to a bear in the way his feathered paws half crossed over each other in walking. Trouve appears as "Nox" in "Benjy," and there is a glimpse of him in "The Sweep," who ended his days as a "soldier's dog" in "The Story of a Short Life." Trouve did, in reality, end his days at Ecclesfield, where he is buried near "Rough," the broken-haired bull-terrier, who is the real hero in "Benjy," Amongst the various animal friends whom Julie had either of her own, or belonging to others, none was lovelier than the golden-haired collie "Rufus," who was at once the delight and distraction of the last year of her life at Taunton, by the tricks he taught himself of very gently extracting the pins from her hair, and letting it down at inconvenient moments; and of extracting, with equal gentleness from the earth, the labels that she had put to the various treasured flowers in her "Little Garden," and then tossing them in mid-air on the gra.s.s-plot.

A very amusing domestic story, called "The Snap Dragons," came out in the Christmas number of the _Monthly Packet_ for 1870.

"Timothy's Shoes" appeared in AUNT JUDY'S volume for 1871.

This was another story of the same type as "Amelia," and it was also ill.u.s.trated by Mr. Cruikshank. I think the Marsh Julie had in her mind's eye, with a "long and steep bank," is one near the ca.n.a.l at Aldershot, where she herself used to enjoy hunting for kingcups, bog-asphodel, sundew, and the like. The tale is a charming combination of humour and pathos, and the last clause, where "the shoes go home,"

is enough to bring tears to the eyes of every one who loves the patter of childish feet.

The most important work that she did this year (1871) was "A Flat-Iron for a Farthing," which ran as a serial through the volume of _Aunt Judy's Magazine_. It was very beautifully ill.u.s.trated by Helen Paterson (now Mrs. Allingham), and the design where the "little ladies," in big beaver bonnets, are seated at a shop-counter buying flat-irons, was afterwards reproduced in water-colours by Mrs.

Allingham, and exhibited at the Royal Society of Painters in Water-Colours (1875), where it attracted Mr. Ruskin's attention.[18]

Eventually, a fine steel engraving was done from it by Mr. Stodart.[19]

It is interesting to know that the girl friend who sat as a model for "Polly" to Mrs. Allingham is now herself a well-known artist, whose pictures are hung in the Royal Academy.

[Footnote 18: The drawing, with whatever temporary purpose executed, is for ever lovely; a thing which I believe Gainsborough would have given one of his own pictures for--old-fashioned as red-tipped daisies are, and more precious than rubies.--Ruskin, "Notes on some of the Pictures at the Royal Academy." 1875.]

[Footnote 19: Published by the Fine Art Society, Bond-street.]

The scene of the little girls in beaver bonnets was really taken from an incident of Julie's childhood, when she and her "duplicate" (my eldest sister) being the nearest in age, size, and appearance of any of the family, used to be dressed exactly alike, and were inseparable companions: _their_ flat-irons, I think, were bought in Matlock.

Shadowy glimpses of this same "duplicate" are also to be caught in Mrs. Overtheway's "Fatima," and Madam Liberality's "Darling." When "A Flat-Iron" came out in its book form it was dedicated "To my dear Father, and to his sister, my dear Aunt Mary, in memory of their good friend and nurse, E.B., obiit 3 March, 1872, aet. 83;" the loyal devotion and high integrity of Nurse Bundle having been somewhat drawn from the "E.B." alluded to. Such characters are not common, and they grow rarer year by year. We do well to hold them in everlasting remembrance.

PART II.

The meadows gleam with h.o.a.r-frost white, The day breaks on the hill, The widgeon takes its early flight Beside the frozen rill.

From village steeples far away The sound of bells is borne, As one by one, each crimson ray Brings in the Christmas morn.

Peace to all! the church bells say, For Christ was born on Christmas day.

Peace to all.

Here, some will those again embrace They hold on earth most dear, There, some will mourn an absent face They lost within the year.

Yet peace to all who smile or weep Is rung from earth to sky; But most to those to-day who keep The feast with Christ on high.

Peace to all! the church bells say, For Christ was born on Christmas day.

Peace to all.

R.A. GATTY, 1873.

During 1871, my sister published the first of her Verses for Children, "The Little Master to his Big Dog"; she did not put her name to it in _Aunt Judy's Magazine_, but afterwards included it in one of her Verse Books. Two Series of these books were published during her life, and a third Series was in the press when she died, called "Poems of Child Life and Country Life"; though Julie had some difficulty in making up her mind to use the term "poem," because she did not think her irregular verses were worthy to bear the t.i.tle.

She saw Mr. Andre's original sketches for five of the last six volumes, and liked the ill.u.s.trations to "The Poet and the Brook,"

"Convalescence," and "The Mill Stream" best.

To the volume of _Aunt Judy's Magazine_ for 1872 she gave her first "soldier" story, "The Peace Egg," and in this she began to sing those praises of military life and courtesies which she afterwards more fully showed forth in "Jackanapes," "The Story of a Short Life," and the opening chapters of "Six to Sixteen." The chief incident of the story, however, consisted in the Captain's children unconsciously bringing peace and goodwill into the family by performing the old Christmas play or Mystery of "The Peace Egg." This play we had been accustomed to see acted in Yorkshire, and to act ourselves when we were young. I recollect how proud we were on one occasion, when our disguises were so complete, that a neighbouring farmer's wife, at whose door we went to act, drove us as ignominiously away, as the House-keeper did the children in the story. "Darkie," who "slipped in last like a black shadow," and "Pax," who jumped on to Mamma's lap, "where, sitting facing the company, he opened his black mouth and yawned, with ludicrous inappropriateness," are life-like portraits of two favourite dogs.

The tale was a very popular one, and many children wrote to ask where they could buy copies of the Play in order to act it themselves. These inquiries led Julie to compile a fresh arrangement of it, for she knew that in its original form it was rather too roughly worded to be fit for nursery use; so in _Aunt Judy's Magazine_ (January 1884) she published an adaptation of "The Peace Egg, a Christmas Mumming Play,"

together with some interesting information about the various versions of it which exist in different parts of England.

She contributed "Six to Sixteen" as a serial to the Magazine in 1872, and it was ill.u.s.trated by Mrs. Allingham. When it was published as a book, the dedication to Miss Eleanor Lloyd told that many of the theories on the up-bringing of girls, which the story contained, were the result of the somewhat desultory, if intellectual, home education which we had received from our Mother. This education Miss Lloyd had, to a great extent, shared during the happy visits she paid us; when she entered into our interests with the zest of a sister, and in more than one point outstripped us in following the pursuits for which Mother gave us a taste. Julie never really either went to school or had a governess, though for a brief period she was under the kind care of some ladies at Brighton, but they were relations, and she went to them more for the benefit of sea breezes than lessons. She certainly chiefly educated herself by the "thorough" way in which she pursued the various tastes she had inherited, and into which she was guided by our Mother. Then she never thought she had learned _enough_, but throughout her whole life was constantly improving and adding to her knowledge. She owed to Mother's teaching the first principles of drawing, and I have often seen her refer for rules on perspective to "My Childhood in Art,"[20] a story in which these rules were fully laid down; but Mother had no eye for colour, and not much for figure drawing. Her own best works were etchings on copper of trees and landscapes, whereas Julie's artistic talent lay more in colours and human forms. The only real lessons in sketching she ever had were a few from Mr. Paul Naftel, years after she was married.

[Footnote 20: Included in "The Human Face Divine, and other Tales." By Margaret Gatty. Bell and Sons.]

One of her favourite methods for practising drawing was to devote herself to thoroughly studying the sketches of some one master, in order to try and unravel the special principles on which he had worked, and then to copy his drawings. She pursued this plan with some of Chinnery's curious and effective water-colour sketches, which were lent to her by friends, and she found it a very useful one. She made copies from De Wint, Turner, and others, in the same way, and certainly the labour she threw into her work enabled her to produce almost facsimiles of the originals. She was greatly interested one day by hearing a lady, who ranks as one of the best living English writers of her s.e.x, say that when she was young she had practised the art of writing in just the same way that Julie pursued that of drawing, namely, by devoting herself to reading the works of one writer at a time, until her brain was so saturated with his style that she could write exactly like him, and then pa.s.sing on to an equally careful study of some other author.

The life-like details of the "cholera season," in the second chapter of "Six to Sixteen," were drawn from facts that Major Ewing told his wife of a similar season which he had pa.s.sed through in China, and during which he had lost several friends; but the touching episode of Margery's birthday present, and Mr. Abercrombie's efforts to console her, were purely imaginary.

Several of the "Old-fashioned Fairy Tales" which Julie wrote during this (1872) and previous years in _Aunt Judy's Magazine_, were on Scotch topics, and she owed the striking accuracy of her local colouring and dialect, as well as her keen intuition of Scotch character, to visits that she paid to Major Ewing's relatives in the North, and also to reading such typical books as _Mansie Wauch, the Tailor of Dalkeith_, a story which she greatly admired. She liked to study national types of character, and when she wrote "We and the World," one of its chief features was meant to be the contrast drawn between the English, Scotch, and Irish heroes; thanks to her wide sympathy she was as keenly able to appreciate the rugged virtues of the dour Scotch race, as the more quick and graceful beauties of the Irish mind.

[Ill.u.s.tration: AMESBURY]

The Autumn Military Manoeuvres in 1872 were held near Salisbury Plain, and Major Ewing was so much fascinated by the quaint old town of Amesbury, where he was quartered, that he took my sister afterwards to visit the place. The result of this was that her "Miller's Thumb"[21] came out as a serial in _Aunt Judy's Magazine_ during 1873.

All the scenery is drawn from the neighbourhood of Amesbury, and the Wiltshire dialect she acquired by the aid of a friend, who procured copies for her of _Wiltshire Tales_ and _A Glossary of Wiltshire Words and Phrases_, both by J.Y. Akerman, F.S.A. She gleaned her practical knowledge of life in a windmill, and a "Miller's Thumb," from an old man who used to visit her hut in the South Camp, Aldershot, having fallen from being a Miller with a genuine Thumb, to the less exalted position of hawking m.u.f.fins in winter and "Sally Lunns" in summer!

Mrs. Allingham ill.u.s.trated the story; two of her best designs were Jan and his Nurse Boy sitting on the plain watching the crows fly, and Jan's first effort at drawing on his slate. It was published as a book in 1876, and dedicated to our eldest sister, and the t.i.tle was then altered to "Jan of the Windmill, a Story of the Plains."

[Footnote 21: Letter, August 25, 1872.]

Three poems of Julie's came out in the volume of _Aunt Judy's Magazine_ for 1873, "The Willow Man," "Ran away to Sea," and "A Friend in the Garden"; her name was not given to the last, but it is a pleasant little rhyme about a toad. She also wrote during this year "Among the Merrows," a fantastic account of a visit she paid to the Aquarium at the Crystal Palace.

In October 1873, our Mother died, and my sister contributed a short memoir of her[22] to the November number of _Aunt Judy's Magazine_. To the December number she gave "Madam Liberality."

[Footnote 22: Included in "Parables from Nature." By Mrs. Alfred Gatty.