Birds and Nature Vol. 11 No. 4 [April 1902] Illustrated by Color Photography

DOMESTIC CATTLE. DOMESTIC COW. (Bos taurus.) ADAPTED FROM A PAINTING BY JAMES M. HART. DOMESTIC CATTLE. In the beautiful Swiss Alps, in the early springtime, one hears the ringing of a large bell. This is rung in the villages and is the signal for the departure of the herds to the alps above. The cows, lowing and jumping with delight, collect eager for departure. The finest cow of all has the largest bell hung from her neck with a bright ribbon, and between her horns is placed a large nosegay of flowers. She is the leader and has the place of honor, and to deprive her of this pleasure would be cruelty indeed. The herdsmen begin their songs, the yodling sounds through the valley, the milk stools are set between the horns of the cattle, the cheese kettles and provisions are packed upon the beasts of burden, and the procession gaily wends its way up the mountainside. Even if poorly protected from storms which may be encountered above, we cannot wonder that the cattle thoroughly enjoy this calm, beautiful life in the alps, and we are told that cows left in the valley below will often escape and follow their companions to the distant mountains. In the United States there are also cattle that live an outdoor life, which have the freedom of the range, and are shelterless the year around. These are the half-wild herds which roam over Texas, Colorado and other western states. Although the great cattle owners often inclose immense pastures, thousands of acres in extent, so that the herds are in a measure restricted, the smaller owners turn their cattle out and allow them to wander at will. This occasions the necessity for the yearly “round-up.” At a given time the cattle of each county are driven to a common center, confined within an inclosure or “corral,” and the calves running with the cow mother are branded with the mark of the owners. The “round-up” is the great event of the cowboy’s life, and an interesting occasion it certainly is. The time of the “round-up” may consume a number of days. The cowboys take their places on the outer limit of the tract belonging to their division, and with a skill acquired by long experience they are able to find every cow and calf and slowly to draw the circle smaller and smaller, until all the cattle are congregated in one herd. Then follows a time of work by day and merrymaking by night. The camp is maintained until all the cattle are branded with the brands which are registered with the county clerk, thus making the ownership plain to all. The cowboys, with their broad hats frequently ornamented with the various brands of the cattle owners, with their picturesque attire, mounted on their bronchos, or scraggy, wiry mountain ponies, are interesting individually and collectively. Among them at the time of the “round-up” are often men of education and refinement, as well as others who know no life besides that of the plains and the open. They ride like the wind, and when one rode to his ranch neighbor’s thirteen miles away to execute a little commission before breakfast and returned before the coffee was spoiled, my eastern ideas received a shock which made it necessary for me to readjust my conception of western life and living. Mr. Brehm tells us that the manner of life of the domestic cattle of various countries is instructive as well as fascinating. He tells us that there are “herds which lead the same manner of existence as did those belonging to the patriarchs. The wandering tribes of Eastern Soudan are herdsmen, who attend to their duties in exactly the same way as their ancestors did thousands of years ago. Herds of cattle constitute their only riches. Their wealth is estimated by the number of their sheep and cattle, as that of the Laplander is estimated by the number of his reindeer. The greatest of European landowners and cattle breeders, including those of Holland and Switzerland, can hardly realize the vast numbers contained in the herds of those nomads. Near the village of Melbess the plain shows a deep depression, at the bottom of which a number of wells have been dug, one beside the other, for the sole purpose of watering the herds congregating there during the noon hours. Beginning in the afternoon and during the whole night, far on toward noon next day, nearly a hundred people are busy hauling water from the wells and pouring it into pools, to which a little salty earth is added. From all sides innumerable herds of sheep, goats and cattle draw near, first the sheep and goats, then the cows. In a few minutes the valley is filled with them. One sees nothing but an unbroken herd of animals passing back and forth, a dark human form looming up between them at intervals. Thousands of sheep and goats keep arriving, while as many are departing satisfied. I believe it impossible to count the number of cattle, yet I do not exaggerate if I put down the number of the animals daily congregating at the spot as sixty thousand. In the south of Africa the oxen are of great importance, as without them the extended trip necessary for purposes of trading and hunting through the vast wastes in parts entirely devoid of water and grass would be impossible. In Southern Russia, Tartary and probably also a great portion of Central Asia considerable herds of cattle are kept.” In fact, at the present time there seems to be no country in the world where domestic cattle are not found. They are common from Norway and Lapland in the north to Southern Africa and South America in the south. Columbus first brought them to the New World, and the Spaniards transported them to South America, where they multiplied with great rapidity. In a general way domestic cattle may be divided into two classes—the straight backed cattle of Europe and the New World and the humped cattle of India. Humped cattle may also be found in China, Africa and Madagascar. They not only vary from other cattle by having the hump on the withers, but they have a different coloration, voice and habits. They have a convex forehead, long, drooping ears and a dew-lap, which hangs in folds the entire length of the neck. They vary much in size, as the largest “may stand as high as a buffalo, while the smallest may be little larger than a calf a month old.” They are gentle in disposition and the larger ones are used for drawing native carriages. Unlike the European cattle, they seldom seek the shade, and never stand knee-deep in water. These cattle are often called zebus, and in the northern provinces of India, where they are used for riding, they will carry “a man at the rate of six miles an hour for fifteen hours.” “White bulls are held peculiarly sacred by the Hindus, and when they have been dedicated to Siva by the branding of his image upon them, they are thenceforth relieved from all labor. They go without molestation wherever they choose, and may be seen about eastern bazars helping themselves to whatever dainties they prefer from the stalls of the faithful.” In Central Africa the humped cattle are represented by the Galla, or Sanga. This is regarded by some as the finest breed of the humped variety. It is large, slender and vigorous, long legged and rather long tailed. The general color is a chestnut-brown. The horns are very strong and are fully forty inches in length. The straight backed cattle are those of Europe, America, Australia and the smaller islands, and of some parts of Africa. They may be long-horned, short-horned or hornless. Among them are very many breeds, many well known being common almost everywhere. One is the ox of Freiburg, or the Swiss ox. This variety yields both excellent beef and extremely rich milk. The Dutch ox is marked by stately proportions, uniform coloring, a long, tapering head and a long and thin neck. The color is pied, a white or grayish ground showing red, brown or black spots of varying size and shape. “It has been bred in Holland for centuries. It is easily fattened and has an abundant yield of milk.” The Durham or short-horned breed of England is an animal with little symmetry of proportion, with a small head, a straight back and short legs. It is not a good milker, but surpasses all in the production of beef. The beautiful Jersey cow is a great favorite in America and Great Britain on account of the rich cream and butter obtained from the milk. The Alderneys and Guernseys are classed with the Jerseys and are also of “elegant appearance.” Other breeds are the hornless Galloways, the Devons, the Herefords, the Holsteins and many others. Like the sheep, the cat and other domestic animals, the origin of domestic cattle seems surrounded with mystery and uncertainty. We know that in earliest times domestic cattle were common, as the earliest writings mention them and the ancient monuments picture them. It is, however, probable that all the straight backed varieties, directly or indirectly, may be traced back to the aurochs, or urus, a most interesting wild ox of Europe. This is extinct now, as well as some other species which may form the connecting link. The aurochs was an animal of great size, nearly as large as an elephant, but with the form and color of a bull. Skulls and bones, both in England and on the Continent, show their characteristics, and skulls pierced by flint hatchets show that they were hunted by prehistoric hunters. We do not know when they finally disappeared, but in Julius Cæsar’s time they seem to have been common in the Black Forest of Germany. Old chronicles prove that they were found in the middle of the sixth century, and in the ninth century Charlemagne hunted the aurochs in the forests near Aix-la-Chapelle. The Nibelungen-Lied mentions the slaughter of four in the twelfth century. In classic literature there are accounts of contests with gigantic wild oxen, indicating that the animal’s range extended as far south as Greece. Bones have been found in a number of European countries, and it is certain that it roamed over Russia, but how far to the eastward and northward it wandered we cannot tell. There still exist in England wild cattle known as the “park oxen.” Though much smaller in size, they seem to be more like a direct descendant of the aurochs than any other species, although probably they descended from domesticated early breeds. These herds are confined in private parks, and the best known at the present time is the Chillingham herd. This park was probably inclosed about the thirteenth century. The cattle are small, with moderately rough, curly hair. The insides of the ears and muzzles are red, while the animals are white. They have the characteristics of animals in a wild state. “They hide their young, feed in the night, basking or sleeping during the day. They are fierce when pressed, but generally speaking are very timorous, moving off on the appearance of anyone, even at a great distance.” John Ainslie. Mightiest of all the beasts of chase That roam in woody Caledon, Crashing the forest in his race, The mountain bull comes thundering on. —Sir Walter Scott. THE ARROW HEAD. ( Sagittaria latifolia. ) In all places then, and in all seasons, Flowers expand their light and soul-like wings, Teaching us, by most persuasive reasons, How akin they are to human things. —Henry Wadsworth Longfellow. The Arrow Head is one of our most familiar plants, quite as well known because of its beautiful arrow-shaped leaves as for its showy white flowers. It is interesting and conspicuous among the rushes and sedges that abound in the sluggish waters that border lakes and streams. It must have sunshine and well illustrates the words of Thoreau: “Rivers and lakes are the great protectors of plants against the aggressions of the forest, by their annual rise and fall, keeping open a narrow strip where these more delicate plants have light and space in which to grow.” There are about twenty-five species of the genus Sagittaria, to which the plant of our illustration belongs. These inhabit both temperate and tropical regions. The generic name is from the Latin word sagitta, meaning an arrow, and referring, as does the common name, to the shape of the leaf. When the Arrow Head grows in water leaves are produced under water that do not have the arrow shape. These are not produced on those plants that grow on wet, muddy banks. Two kinds of flowers are produced by this plant—the male and the female. The male flowers are the large white ones with a golden center formed by the group of yellow stamens. The female flowers are lower on the flower stalk and are dull green and unattractive. This arrangement of the flowers is nature’s provision for preventing self-fertilization. The insects that visit these flowers naturally first alight on the more brilliant staminate flowers, and the pollen, adhering to their bodies, is later transferred to the seed producing flowers when the insects visit them. Though the two flowers are usually upon the same plant, they are sometimes developed on distinct plants. The Arrow Head beautifies the swampy regions of North America from Mexico northward. THE BLACK COHOSH. ( Cimicifuga racemosa. ) The Black Cohosh, or Black Snakeroot, grows in rich woods from Canada nearly to the Gulf of Mexico. It is a conspicuous plant, with its long stem, which sometimes grows to a height of eight feet, and its large compound leaves, as well as with its long raceme of numerous small white flowers. This raceme during the ripening of the fruit often acquires a length of two to three feet. This plant is sometimes called Bugbane. The name Cimicifuga is from the Latin words cimex, a bug, and fugo, to drive away. Both the technical name and the name Bugbane allude to the offensive odor of the flowers, which was supposed to drive away insects. In fact, the Black Cohosh is held in high repute by some Indians as a cure for the bite of poisonous snakes, as well as a powerful aid in driving away insects. Were it not for the strong, disagreeable odor of the flowers, which are only frequented by those flies which enjoy the odor of carrion, with its “tall white rockets shooting upward from a mass of large, handsome leaves,” it would be a striking ornament for the flower garden. BLACK COHOSH. (Cimicifuga racemosa.) ARROW HEAD. (Sagittaria latifolia.) FROM “NATURE’S GARDEN” COPYRIGHT 1900, BY DOUBLEDAY, PAGE & COMPANY. Someone has said that the Black Cohosh “may truly be classed among those objects which, from the standpoint of frail humanity, distance lends enchantment.” Though this be true, may we not say with Wordsworth, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears. THE VEERIE. Darkness descends in shadowy folds Over the distant hills; the breeze Shivers and stirs in the leafy trees, And a single star beholds. The brook murmurs low in the tangled copse, The jewel-weed stands with its feet in the stream, By my lantern light the dew-drops gleam On the leaves like diamond drops. And lo! like the shuddering wind-stirred leaves, Like the trembling weed where the waters glide, A voice from the depths where the wood-birds hide Its thrilling melody weaves. What shakes the harp-strings in thy throat? Is it joy or woe? Is it love or fear? The mystery of the woods I hear In the passion of your note. Do you cry, Woe! Woe! Do you cry, Rejoice! Joy and sorrow no longer twain, Hope and despair in one wild strain, And the night has found a voice. —Isabella T. M. Blake. THE SPRING MIGRATION. II. IN CENTRAL MISSISSIPPI. In the former article under this title attention was paid to the warblers only. In the present one I will try to give you some idea of the other birds that in spring take part in this general movement northward. A few birds that cannot properly be classed among the winter residents visit us now and then on warm summery days in January and February; they may be called the advance guard of the great army of migration. Conspicuous among these are the bluebird and the hermit thrush, two birds closely related, but very different both in coloring and disposition. The bluebird is one of the first birds to be learned by the country children; his bright colors, cheerful music and affectionate, trusting disposition make him a general favorite. Right here permit me to digress enough to say that too little encouragement is given the children of our public schools, especially in the country, to learn the names and habits of our common birds. A little time and effort judiciously expended by the teacher in guiding the pupils to an understanding and love of the bird life about them would be an investment paying large dividends in quickened perceptions and increased interest in the too often dull and distasteful round of school work. The hermit thrush is a lover of the deep, dark shades where he can sit on a twig and watch the stirring life about him without being a part of it—a kind of chimney corner philosopher, if you please. The rufous tail in sharp contrast to the olive brown head and back will tell you his name every time, for he is the only member of the thrush family found in these regions in which the color of the tail differs materially from that of the back. I remember one afternoon in February seeing one in the shade of a thick-topped holly; here he remained quite unconscious while we peered at him through the opera glass, discussed his coloring and consulted the pocket manual to see what Chapman said about him, an occasional jerk of the tail or a slight movement of the head being the only indication of life in the graceful figure before us. Late in March or early in April come the purple martin, the bank swallow and chimney swift, all cheerful birds whose only apparent aim in life is to sail about through the air in pursuit of gnats and flies. The noisy chatter of the martins as they wheel and turn about near the house is one of the most agreeable sounds in all the gamut of bird voices. They are very numerous in parts of Mississippi, but the only place in the North where I have ever seen them in any considerable numbers is on the Maumee, not far from the little town of Waterville, Ohio. The bank swallow and chimney swift are smaller and less conspicuous than the martin, less noisy but quite as useful. Soon after the swallows appear the flycatchers, the tyrant wood pewee, phœbe bird, Acadian and great crested. What figure is more familiar on hot summer days than the kingbird or tyrant flycatcher perched on a mullein stalk, now and then darting down from his perch to capture some straying gnat? The Acadian stops for only a very short stay; you will find him in the deepest shades, where the gloom and dampness suit his somber fancy. The wood pewee is also a gloomy soul, possessing no gift of color or song to attract the eye or hold the fancy; his long drawn out monotonous note always reminds me of hot August afternoons when all other bird voices are silent as the grave and summer reigns with undisputed sway. The prince of woodland flycatchers, both from point of coloring and attractive personality, is the great crested; his olive brown back, whitish breast and sulphur-yellow belly give him a more brilliant appearance than the others just mentioned. His character, too, is better, for he is neither as belligerent as the kingbird or as gloomy as the Acadian and wood pewee. His call is not unmelodious, though it would be misleading to call it a song. April brings the orioles to play their not insignificant part in the great color scheme of Nature at this resurrection season. I always associate the coming of the orchard oriole with the opening of the Chickasaw roses, and the arrival of the Baltimore with the blooming of the yellow poplar (Liriodendron tulipifera). For several seasons I caught my first glimpse of the Baltimore’s flame and black in the top of a tall poplar, and heard his cheery whistle as he dodged in and out among the great cups, making a breakfast on the insects whose hum made the whole woods drowsy. A few brief days of rest and pleasure in this land of flowers and the orioles are gone, except a few pairs that stay to rear their families in these solitudes. A long, slim, brown body, a stealthy way of sliding in and out among the vines and limbs, and a shy, suspicious air mark the black billed cuckoo or raincrow. He, too, stays but a few days. When you see the raincrow it is time to look for the Wilson’s thrush; but it was never my privilege to hear him sing in these forests. Perhaps he is tired out with the long journey from the land of eternal summer and wishes to be seen, not heard. Writers tell us that this thrush is very plentiful in certain localities, but in this section of the South I saw only two specimens in four years. The musician of the thrush family, of the whole woods for that matter, in some points a successful rival of the mocking bird, is the wood thrush. Dark cinnamon brown, of quite a uniform tint above and white breast spotted with round, black, or dark brown enable one to pick him out easily from the rest of the thrush family. I remember hearing one sing at a negro “baptizing” just at sunset of an April day. After the immersion had taken place, as the officiating “elder” led the candidate to the bank of the pond, clear negro voices raised one of the good old hymns. As the words of the last verse died away on the evening air and the elder raised his hand to pronounce the benediction, a wood thrush in the nearby forest began his vespers. Sweet, clear as a silver bell, the notes arose, tinkling, reverberating, tender but dignified, voicing in a half-unconscious way the solemn emotions of the hour. What is there in the singing of even the best of trained choirs to compare with this simple voice of Nature, without affectation or conceit, arousing the feelings and appealing to the noblest instincts of our common nature. Birds crowd in upon us, bull bat, chuck-wills-widow, turtle dove, gray-cheeked thrush and titlark come to see us, some to stop and add their own individual element to the local coloring, others after a few hours of rest to continue their way northward. Multitudes of sparrows, jays, thrashers, nuthatches, titmice, woodpeckers, etc., that have enjoyed our hospitality during the winter and part of the spring pack up their effects and leave, for summer is almost here. The bird that to my mind is distinctly the advance agent of summer has well been called the summer tanager. He delays his coming until straw hats and linen suits appear; then what a dash of warm color he brings. Seated on the topmost bough of a tall oak, where the sun’s rays fall full upon him, he gives such intense, palpitating color that one’s eyes are almost blinded looking at him. Rich as is the red of the cardinal it appears soiled and tarnished beside the summer tanager. With a sigh we realize that the spring migration is over for this year; but there is one consolation, only a part of its music is hushed—the soul of Southern bird life, the mocking bird, is left. Inconspicuous by reason of his Quaker-gray suit, he makes up in attractive manners and variety of musical gifts what he lacks in other respects. It is quite impossible to do justice to this bird either in describing his bubbling, effervescent life during the nesting season or in giving an adequate idea of the effect produced upon the senses by his exquisitely beautiful nocturnes. One March night some noise just outside my window awakened me. I arose and raising the window listened. The full moon, almost in the zenith, was flooding the landscape with a weird, soft light; the shadows of the cedar hedge a few yards away lay black as ink; the very air was heavy with the perfume of the jessamine abloom in a neighboring forest. In the cedars a mocking bird sang to himself a sweet, dreamy song, giving more complete expression to the mystery, the romance, the passion, the rapturous content of a Southern moonlit night than any poem that poet’s hand has ever written. James Stephen Compton. ANTICS OF A HUMMINGBIRD. As the writer was standing one May morning near a clump of bushes in the suburbs of a city in Maine he witnessed, for the first time in a long experience of bird study, the courting antics of a male hummingbird. Two of the tiny creatures appeared, apparently evolved from mid-air, and one alighted in the bush. She was the female. The male immediately began to disport himself in the air in the following remarkable manner: He dashed back and forth over the head of the female in long, curving swoops such as one describes in a swing, all the time giving utterance to a low, pleasing twitter. He thus swept back and forth ten times, rising at the ends of the curve to a height of perhaps fifteen feet, sustaining himself there a moment, with his ruby throat flashing in the sun, and then darting down the double toboggan slide and up to the other end. Though he flew very swiftly, yet his speed was not the usual flash and his movements could be plainly seen. I had never before seen a hummingbird fly so slowly nor heard from one of them such a prolonged vocal sound. Indeed, it is very rare that one hears the hummingbird’s voice, even if one is on the alert for it. After the tenth swoop there was a buzz of wings and both birds had vanished. A minute after I found the male in a cherry tree sipping honey from the blossoms. There is evidently a rivalry between the bees and the hummingbirds in their quest for honey. This bird, with an angry dash, expressed its disapproval of the presence of a big bumblebee in the same tree. The usually pugnacious bee incontinently fled, but he did not leave the tree. He dashed back and forth among the branches and white blossoms, the hummingbird in close pursuit. Where will you find another pair that could dodge and turn and dart equal to these? They were like flashes of light, yet the pursuer followed in the track of the pursued, turning when the bee turned. There was no cutting across, for there was no time for that. In short, the bird and the bee controlled the movement of their bodies more quickly and more accurately than the writer could control the movement of his eyes. The chase was all over in half the time that it has taken to tell it, but the excitement of a pack of hounds after a fox is as nothing, in comparison. The bee escaped, the bird giving up the chase and alighting on a twig. It couldn’t have been chasing the bee for food, and there is no possible explanation of its unprovoked attack except that it wished to have all the honey itself. So even as little a body as a hummingbird can show selfishness in a marked degree. However, Mr. Bee continued to take his share of Nature’s bounty, though doubtless he had his weather eye open against another attack. Both scenes afforded me a delightful study and were a rare privilege. George Bancroft Griffith. SWEET FLAG. (Acorus calamus.) FROM KŒHLER’S MEDICINAL-PFLANZEN. Description of plate: A , rhizome and basal portion of leaves; B , upper end of leaf with inflorescence (spike); 1, 2, 3, 5, flowers; 4, stigma; 6, section of fruit; 7, stamens; 8, pollen grains. CALAMUS. ( Acorus calamus L.) Another goblet! quick! and stir Pomegranate juice and drops of myrrh And calamus therein. —Longfellow: Golden Legend, III. Acorus calamus, commonly known as Calamus, sweet flag and cinnamon sedge, is a reed-like plant common in Europe and Northern United States. It grows in swamps, marshes and very moist places. It is a herbaceous perennial growing from spreading fleshy rhizomes. The long, sword-like, deep green, pointed leaves grow up from the rhizomes. The history of this plant dates back to remote antiquity, yet there is considerable uncertainty as regards the identity of the various plants which have at various periods been supposed to be sweet flag. There is no doubt that some reedlike plant in many respects similar if not identical with calamus was used by the ancient Egyptians in the preparation of incense as recorded in the papyri of Ebers. These Egyptian records date back to the eighteenth dynasty, or from 1800 to 2000 years B. C. Vague references to a similar plant are to be found in the ancient sacred writings of the Hindoos. It is likely that the plant referred to and that which is mentioned in the Bible is a species of Andropogon, and not Acorus. In Exodus, 30:23, we find: “Take thou also unto thee principal spices of pure myrrh, of sweet cinnamon, and of sweet Calamus.” Our first reliable information of Calamus is from Plinius, who received specimens from the country about the Black Sea and who described it under the name of Acorus calamus. Acorus, derived from the Greek a for, and corus, the eye, because the plant was highly recommended in the treatment of diseases of the eye. Calamus, also derived from the Greek, means a reed or reed-like plant. Dioscorides and Theophrastus also describe the plant with special reference to the rhizome and its uses. The rhizomes should be collected late in the autumn, carefully cleaned of dirt, leaf remnants, leaf scales and roots and dried in the sun or in an oven at a moderate temperature. The aromatic odor increases greatly on drying. Calamus has ever been a favorite popular remedy. Its principal use seems to have been that of a tonic and blood purifier, for which purpose bits of the dried rhizomes are masticated and the saliva swallowed. It undoubtedly is a tonic and it also has a beneficial, stimulating and antiseptic effect upon gums and teeth. Chewing the rhizomes is also said to clear the voice. Calamus is, or has been, used in flavoring beer and gin. Country, people add it to whisky, wine and brandy to make a tonic bitters for the weak and dyspeptic. It is said that the Turks employ it as a preventive against contagious diseases. In India it is used to destroy vermin, especially fleas. In England it is employed in the treatment of malaria. At the present time Calamus is no longer extensively employed in medicine. It is considered as a stimulating, aromatic and bitter tonic. It is perhaps true that its value as a tonic is at present somewhat underestimated by the medical profession. It is also serviceable in flatulent colic, and in what is designated as atonic dyspepsia. It is added to other medicines, either as a corrective, or adjuvant. Albert Schneider. THE BIRDS. They are swaying in the marshes, They are swinging in the glen, Where the cat-tails air their brushes In the zephyrs of the fen; In the swamp’s deserted tangle, Where the reed-grass whets its scythes; In the dismal, creepy quagmire, Where the snake-gourd twists and writhes. They are singing in arroyos, Where the cactus mails its breast, Where the Spanish bayonet glistens On the steep bank’s rocky crest; In the cañon, where the cascade Sets its pearls in maiden-hair, Where the hay and holly beckon Valley sun and mountain air. They are nesting in the elbow Of the scrub-oak’s knotty arm, In the gray mesh of the sage-brush, In the wheat-fields of the farm; In the banks along the sea beach, In the vine above my door, In the outstretched clumsy fingers Of the mottled sycamore. While the church-bell rings its discourse They are sitting on the spires; Song and anthem, psalm and carol Quaver as from mystic lyres. Everywhere they flirt and flutter, Mate and nest in shrub and tree. Charmed, I wander yon and hither, While their beauties ravish me, Till my musings sing like thrushes, And my heart is like a nest, Softly lined with tender fancies Plucked from Nature’s mother-breast. —Elizabeth Grinnell, in “Birds of Song and Story.” Transcriber’s Notes Created an eBook cover from elements within the issue. Reconstructed the Table of Contents (originally on each issue’s cover). Retained copyright notice on the original book (this eBook is public-domain in the country of publication.) Silently corrected a few palpable typos. *** END OF THE PROJECT GUTENBERG EBOOK BIRDS AND NATURE VOL. 11 NO. 4 [APRIL 1902] *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ 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 License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg 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 electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg 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 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 electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg 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 electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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 mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg 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 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 work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 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 License must appear prominently whenever any copy of a Project Gutenberg 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 in the United States and most other parts of the world 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 www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (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 trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg 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 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 License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 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 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 work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), 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 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 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 electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a 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 WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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 work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg 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 are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg 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 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 information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation 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. 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 business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate . 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: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, 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.

Related documents

• Birds and All Nature, Vol. 7, No. 1, January 1900 Illustrated by Color Photography#53485
• Birds and All Nature, Vol 7, No. 2, February 1900 Illustrated by Color Photography#53503
• Birds and All Nature, Vol. 4, No. 2, August 1898 Illustrated by Color Photography#53189
• Birds and All Nature, Vol. 4, No. 1, July 1898 Illustrated by Color Photography#53147
• Birds and All Nature, Vol 7, No. 3, March 1900 Illustrated by Color Photography#53520