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But to go back to the stories she told us as children. Another of our favourite ones related to a Cavalier who hid in an underground passage connected with a deserted Windmill on a lonely moor. It is needless to say that, as we were brought up on Marryat's Children of the New Forest, and possessed an aunt who always went into mourning for King Charles on January 30, our sympathies were entirely devoted to the Stuarts' cause; and this persecuted Cavalier, with his big hat and boots, long hair and sorrows, was our best beloved hero. We would always let Julie tell us the "Windmill Story" over again, when her imagination was at a loss for a new one. Windmills, I suppose from their picturesqueness, had a very strong attraction for her. There were none near our Yorkshire home, so, perhaps, their rarity added to their value in her eyes; certain it is that she was never tired of sketching them, and one of her latest note-books is full of the old mill at Frimley, Hants, taken under various aspects of sunset and storm. Then Holland, with its low horizons and rows of windmills, was the first foreign land she chose to visit, and the "Dutch Story," one of her earliest written efforts, remains an unfinished fragment; whilst "Jan of the Windmill" owes much of its existence to her early love for these quaint structures.

It was not only in the matter of fairy tales that Julie reigned supreme in the nursery, she presided equally over our games and amusements. In matters such as garden-plots, when she and our eldest sister could each have one of the same size, they did so; but, when it came to there being one bower, devised under the bending branches of a lilac bush, then the laws of seniority were disregarded, and it was "Julie's Bower." Here, on benches made of narrow boards laid on inverted flower-pots, we sat and listened to her stories; here was kept the discarded dinner-bell, used at the funerals of our pet animals, and which she introduced into "The Burial of the Linnet."[3] Near the Bower we had a chapel, dedicated to St. Christopher, and a sketch of it is still extant, which was drawn by our eldest sister, who was the chief builder and caretaker of the shrine; hence started the funeral processions, both of our pets and of the stray birds and beasts we found unburied. In "Brothers of Pity"[4] Julie gave her hero the same predilection for burying that we had indulged in.

She invented names for the spots that we most frequented in our walks, such as "The Mermaid's Ford," and "St. Nicholas." The latter covered a space including several fields and a clear stream, and over this locality she certainly reigned supreme; our gathering of violets and cowslips, or of hips and haws for jam, and our digging of earth-nuts were limited by her orders. I do not think she ever attempted to exercise her prerogative over the stream; I am sure that, whenever we caught sight of a dark tuft of slimy Batrachospermum in its clear depths, we plunged in to secure it for Mother, whether Julie or any other Naiad liked it or no! But "the splendour in the grass and glory in the flower" that we found in "St. Nicholas" was very deep and real, thanks to all she wove around the spot for us. Even in childhood she must have felt, and imparted to us, a great deal of what she put into the hearts of the children in "Our Field."[5] To me this story is one of the most beautiful of her compositions, and deeply characteristic of the strong power she possessed of drawing happiness from little things, in spite of the hindrances caused by weak health. Her fountain of hope and thankfulness never ran dry.

Some of the indoor amusements over which Julie exercised great influence were our theatricals. Her powers of imitation were strong; indeed, my mother's story of "Joachim the Mimic" was written, when Julie was very young, rather to check this habit which had early developed in her. She always took what may be called the "walking gentleman's" part in our plays. Miss Corner's Series came first, and then Julie was usually a Prince; but after we advanced to farces, her most successful character was that of the commercial traveller, Charley Beeswing, in "Twenty Minutes with a Tiger." "Character" parts were what she liked best to take, and in later years, when aiding in private theatricals at Aldershot Camp, the piece she most enjoyed was "Helping Hands," in which she acted Tilda, with Captain F.G. Slade,