In the gardens the roses were still in bloom, not the delicate blush or lemon ones of June, nor yet the pale Banksias and climbers, but the full-blooded red roses of late summer, and deep-coloured apricot ones, with crinkled outside leaves faintly kissed by the frosty dew. In sheltered spots the purple clematis still lingered, whilst the dahlias, brilliant of hue, seemed overbearing in their gorgeous insolence, flaunting their crudely colored petals against sober backgrounds of mellow leaves, or the dull, mossy tones of ancient, encircling walls.
The Gala had always been held about the end of September. The weather, on the riverside, was most dependable then, and there was always sufficient sunshine as an excuse for bringing out Madam’s last new muslin gown, or her pale-coloured quilted petticoat. Then the ground was dry and hard, good alike for walking and for setting up tents and booths. And of these there was of a truth a most goodly array this year: mountebanks and jugglers from every corner of the world, so it seemed, for there was a man with a face as black as my lord’s tricorne, and another with such flat yellow cheeks as made one think of batter pudding, and spring aconite, of eggs and other very yellow things.
There was a tent wherein dogs—all sorts of dogs, big, little, black, white or tan—did things which no Christian with respect for his own backbone would have dared to perform, and another where a weird-faced old man made beanstalks and walking sticks, coins of the realm and lace kerchiefs vanish into thin air.
And as it was nice and hot one could sit out upon the green and listen to the strains of the band, which discoursed sweet music, and watch the young people tread a measure on the sward.
The quality had not yet arrived: for humbler folk had partaken of very early dinner so as to get plenty of fun, and long hours of delight for the sixpenny toll demanded at the gates.
There was so much to see and so much to do: games of bowls on the green, and a beautiful Aunt Sally, there was a skittle alley, and two merry-go-rounds: there were performing monkeys and dancing bears, a woman so fat that three men with arms outstretched could not get round her, and a man so thin that he could put a lady’s bracelet round his neck and her garter around his waist.
There were some funny little dwarfs with pinched faces and a knowing manner, and a giant come all the way from Russia—so ’twas said.
The mechanical toys too were a great attraction. You dropped a penny into a little slit in a box and a doll would begin to dance and play the fiddle: and there was the Magic Mill, where for another modest copper a row of tiny figures, wrinkled and old and dressed in the shabbiest of rags, marched in weary procession up a flight of steps into the Mill, only to emerge again the next moment at a further door of this wonderful building looking young and gay, dressed in gorgeous finery and tripping a dance measure as they descended some steps and were finally lost to view.
But what was most wonderful of all and collected the goodliest crowd of gazers and the largest amount of coins, was a miniature representation of what was going on in France even at this very moment.
And you could not help but be convinced of the truth of it all, so cleverly was it done. There was a background of houses and a very red-looking sky. “Too red!” some people said, but were immediately quashed by the dictum of the wise, that the sky represented a sunset, as anyone who looked could see. Then there were a number of little figures, no taller than your hand, but with little wooden faces and arms and legs, just beautifully made little dolls, and these were dressed in kirtles and breeches—all rags mostly—and little coats and wooden shoes. They were massed together in groups with their arms all turned upwards.
And in the center of this little stage on an elevated platform there were miniature wooden posts close together, and with a long flat board at right angles at the foot of the posts, and all painted a bright red. At the further end of the boards was a miniature basket, and between the two posts, at the top, was a miniature knife which ran up and down in a groove and was drawn by a miniature pulley. Folk who knew said that this was a model of a guillotine.
And lo and behold! when you dropped a penny into a slot just below the wooden stage, the crowd of little figures started waving their arms up and down, and another little doll would ascend the elevated platform and lie down on the red board at the foot of the wooden posts. Then a figure dressed in brilliant scarlet put out an arm presumably to touch the pulley, and the tiny knife would rattle down on to the poor little reclining doll’s neck, and its head would roll off into the basket beyond.
Then there was a loud whirr of wheels, a buzz of internal mechanism, and all the little figures would stop dead with arms outstretched, whilst the beheaded doll rolled off the board and was lost to view, no doubt preparatory to going through the same gruesome pantomime again.
It was very thrilling, and very terrible: a certain air of hushed awe reigned in the booth where this mechanical wonder was displayed.
The booth itself stood in a secluded portion of the grounds, far from the toll gates, and the band stand and the noise of the merry-go-round, and there were great texts, written in red letters on a black ground, pinned all along the walls.
“Please spare a copper for the starving poor
