whatever creature she touched; and, sometimes,—­particularly in tales which came out as serials, when she wrote from month to month, and had no opportunity of correcting the composition as a whole,—­she was apt to give undue prominence to minor details, and throw her high lights on to obscure corners, instead of concentrating them on the central point.  These artistic rules kept her humour and pathos,—­like light and shade,—­duly balanced, and made the lights she “left out” some of the most striking points of her work.

[Illustration:  POST MILL, DENNINGTON.]

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.