a day was keeping her from rapid physical degeneration. Yet, like all northern American summers, the weather became fearfully hot in July and August, and the half-mile even in early morning and at six in the evening left her listless, nervously dreading the great concrete-lined room, the reek of glue and oil, the sweaty propinquity of her neighbours, and the monotonous appetite of the sprawling machine which she fed all day long with pasteboard squares.

She went to her work in early morning, bareheaded, in a limp pink dress very much open at the throat, which happened to be the merciful mode of the moment—a slender, sweet-lipped thing, beginning to move with grace now—and her chestnut hair burned gold-pale by the sun.

There came that movable holiday in August, when the annual shutdown for repairs closed the mill and box factory during forty-eight hours—a matter of prescribing oil and new bearings for the overfed machines so that their digestions should remain unimpaired and their dispositions amiable.

It was a hot August morning, intensely blue and still, with that slow, subtle concentration of suspended power in the sky, ominous of thunder brooding somewhere beyond the western edges of the world.

Ruhannah aided her mother with the housework, picked peas and a squash and a saucer full of yellow pansies in the weedy little garden, and, at noon, dined on the trophies of her husbandry, physically and æsthetically.

After dinner, dishes washed and room tidied, she sat down on the narrow, woodbine-infested verandah with 50 pencil and paper, and attempted to draw the stone bridge and the little river where it spread in deeps and shallows above the broken dam.

50

Perspective was unknown to her; of classic composition she was also serenely ignorant, so the absence of these in her picture did not annoy her. On the contrary, there was something hideously modern and recessional in her vigorous endeavour to include in her drawing everything her grey eyes chanced to rest on. She even arose and gently urged a cow into the already overcrowded composition, and, having accomplished its portrait with Cezanne-like fidelity, was beginning to look about for Adoniram to include him also, when her mother called to her, holding out a pair of old gloves.

“Dear, we are going to save a little money this year. Do you think you could catch a few fish for supper?”

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