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  • Scrittore Vol 13 No 2 Summer 1991

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    Miriam Livingstone
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    Scrittore Vol 13 No 2 Summer 1991

    Caricato da

    Miriam Livingstone
    letters

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    © All Rights Reserved
    Scarica in formato PDF o leggi online su Scribd
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    Me fy j CGlcs4a_sa. whe VICTORIA PITTMAN Pointed brush alphabet SCRUTTORE, Volume 13 Number 2 Summer 1991 "oh OFFICERS sosp COMMITTSE CHATRS — eres igre ree Cnn ae a See. a SWS ged oe ob 1ST Vind en Az 8k Es Fo way saia — a COVER ARTWORK: Sandy Fennerty pencil drawing, original size 14" x 14* LETTERING OF THE TITLES: Victoria Pittman EDITORIAL ASSISTANCE: Patricia Bailey and Victoria Pittman PROOFREADING: Sandy Fennerty TYPOGRAPHY: Francene Smith PRINTING: Passey Printing CONTENTS CALENDAR... .-- 2 WHERE DOES YOUR MONEY GO? .......... 55 3 ‘NEWSLETTER NOTES by Charlene "Chuck" Schuschel 4 BOOKS FOR BEGINNERS by Charlene "Chuck" Schuschel ............000225. 6 BRASS RUBBINGS by Mary Rinne . 9 8 STUDIO VIEW: PATRICIA BAILEY’'S STUDIO Interview and Photos by Sharon Bernier 10 FOCUS ON OUR MEMBERS. by Sharon Bernier 219 PAPER SAMPLE .... 221 ENTERING THE COMPETITION by Karyn Gilman .. MICHELE JACKSON by Rita Doherty . . AT WORK AND PLAY WITH FRAN STROM by Carol Rawlings +26 CONTRIBUTORS: Please include your name and address on the back of any item (art work, photos, ete.) that you wish to have returned and provide a self-addressed stamped envelope in an appropriate size. DEADLINE FOR WINTER ISSUE IS OCTOBER 1st. / ‘The Studio Day article in the Spring Scrittore was written by Charlene “Chuck” Schuschel, whose name I inadvertently let off. To make matters worse, I also left her name off the wonderful Notes from Newsletters column that everyone thoroughly enjoyed. Please forgive me, Chuck, and thank you for your excellent work. [Nancy Pilgrim, EDITOR ‘The following is a list of local upcoming events. For a more detailed list, please check your most current copy of Alpha Bits. ‘SEPTEMBER 20 General meeting at 7:00 pm at the Scottsdale Senior Center, 7375 East 2nd Street, Scottsdale. Renaissance Festival slides will be shown. ‘SEPTEMBER 21 One day border workshop with Jane Moore. OCTOBER 18, 19, 20 CSA Annual retreat in Prescott. NOVEMBER 9&10 Two-day color and design workshop with Dick Beasley. Comparison of 1989 and 1990 1989 1990 INCOME Dues ‘$ 3,377.00 $4,555.50 Workshops 5,153.50 4251.00 Name Badges 132.50 Mise. 365.62 _1,533.40 Total 899613 _10.472.40 EXPENSE Serittore Printing 279769 3,113.26 Preparation 765.46 1,472.86 Postage 19468 __ 20850 Subtotal 375783 4794.62 Workshops 2421.00 3,070.25 Meeting Speakers 250.00 Miscellaneous 649.46 635.03 Other Postage 626.23, 264.75, Supplies 203.94 34.94 Peacility rental 65.00 215.00 Phone 134.09 17.38 Alpha Bits Printing 163.03 Alpha Bits Postage 322.90 Retreat 1,940.26 796.00 Other Printing "706.20 21852 Fund Raising 117.46 27972 10. 982.14 NET Loss (0,725.34) (589.74) Wit Ye arlene "Chuck" Schuschel, My house has tured into a maze of newsletters that CSA receives every month from across the nation, Canada, and even from South Africa. Yes, Virginia, Calligraphy is alive and flourishing (Please ‘excuse the cliche!’ and sorry attempt ata pun.) All these newsletters are slowly working their way into binders and years’ worth of guild exchanges are now available for your enjoyment and inspiration through the library. The following are just gleanings from some of the newsletters. Bow Valley Calligraphy Guild ‘Newsletter, Canada: For crisp fold lines on lightweight card and heavy stock, "score" the fold line with a blunt object such as a knitting needle, dry ballpoint pen, bone folder, ete. (Donna Duncan-Reilly) Sue Ebel, Ghost Ranch: To tear paper, fold it with a bone folder. ‘Moisten along folded edges. Tear paper with edge of bone folder inserted into fold. The moisture weakens the fiber and gives a pleasant fringed edge which harmonizes with the deckled edge of handmade paper. Society for Calligraphy and Fiandwriting Seattle, WA: Because most Oriental Papers are long fibered, they are strongest when tom, rather than cut. The best way to tear them is to: 1. Fold the paper where you want it torn. 2. Draw a thin line of water along the fold with a small brush. 3. With one hand, hold a metal straightedge on the fod lin. 4, Lift the paper with the other hand, tearing the ‘water-weakened line up along the straight edge. Fairbanks Society Newsletter, Jan. For hand embossing of small items, instead of laboriously pressing into the paper with a bumishing tool (stencil mounted ‘on the other side) try this: Place a kneaded eraser on the area to be pressed, with paper on smooth, flat surface. Put small block of wood over eraser, then step on it with all your weight. IF paper does not yield enough, try dampening it first. ‘The following are some uses for ‘unusual tools or “throw-aways." Society for Calligraphy, LA: Petrified tubes of gouaches? They can be salvaged by cutting open the tube lengthwise, scraping the contents into a clear film canister and adding a few drops of distilled water. Be sure to label the container. Jersey Shore Calligrapher's Guild, New Jersey: Re-use toothpaste caps by cleaning thoroughly and gluing or taping to a piece of glass or plastic. Fill with ink. for copperplate nibs. Society for Calligraphy, Los Angeles: Take apart a regular felt chalkboard eraser and use the hard part for a wide felt "marker" for lettering banners, etc. (Peggy Crowe, The Guilded Letter.) Western Reserve Calli- graphers: Bamboo skewers taped together make great multiple stroke pens. (Sandra Paley) Kaligrafos, Dallas) A discarded clarinet reed makes a nice nib; so do new reeds found in music stores. Depending on the flexibility you want, they come in degrees of hardness from 1 1/2 to 5, five being the hardest. Trim’ with scissors. ‘The Western Reserve Calligraphers leveland Ohio, Spring 1991: Sue Hosler frequently uses wood veneer or used clarinet reeds cut to size as pen nibs. Her usual holder has been a wooden dowel rod with a slit cut in the end. She has also found a great pen holder - an X-acto knife. She has the type that is shaped like a pencil (the head tunscrews for changing the blades). She inserts a wood nib, tightens the head and no longer needs to contend with a nib slipping out of place. Capital City Scribes, Austin, Texas: Use a hypodermic (drug store) needle with Pelikan Fount ink to refill cartridges in pens like Schaeffer or Platignum. This ink is much cheaper and blacker and flows better than the ink in the cartridges. (try your colored inks made for cartridge pens like Rotring. Chuck) Pots and Pens 3: For Quick Guide lines, use two pencils spaced apart with a kneaded eraser. This makes a simple device for drawing guide lines. The kneaded eraser has the advantage of easily changing shape 50 you can mold it into any size wedge you need to meet your requirements. Wedge the pencils and the points will be close together. (Jo Forsyth) Capital City Scribes, Austin, Texas: You can get some great on-going flourishes by putting a Mitchell- ‘type reservoir on a copperplate nib, Gennifer Phillips) (Pat Bailey also learned this in one of Dick Jackson’s workshops) Northern Lights Calligraphers, Ft. McMurray, Alberta’ Canada: A purple fabric marker used for eross- stitch projects makes lines that disappear in a few hours or over night. Purchase these markers at a fabric store in the notions department. Test paper types as the lines have been known to remain on some. Long term effect is unknown. Kaligrafos, Dallas: A Mitchell reservoir works well on a TO or Brause nib. (Betty Gilpin) I have never realized how many uses we have for the different "whites" that are available. Here are some ways to make use of these products. Guild of the Golden Quill: Mix transparent watercolors with Dr. Martin’s Bleedproof White for pastel colors on dark paper. ‘Atlanta Friends of the Alpha- bet: For white on dark papers try writing with Bleedproof White, Pelican Graphic White, or another designers’ white qouache on your next project. These products are designed for superior opacity and coverage, and are often the whitest whites available. Peter Thornton recommended Dr. Martin's Bleed Proof White mixed with watercolors. He takes a small amount into a palette and mixes it with water to a fluid consistency. Then he adds a drop or two of color (watercolor or gouache) Although the gouache is more light fast than watercolor he prefers watercolor which is more subtle. Use either AA or an A permanency in watercolor, Peter feels the advantages of Dr. Martin's over white gouache are: 1. It has one coat covering power. It only takes one stroke of the pen to have tremendous opacity. 2, Because itis to opaque it can be thinned enough to give a crisp fine hairline. It can be used to write very small without having to be filled in. ‘This was also noted in John Neal's January 1991 catalogue. Dallas: A tip on gouache is to remember that Bengal Rose WN Designers gouache has a permanence rating of C, making it a “fugitive” (fading) color. Permarent White is for maximum opacity, but it is NOT recommended fer diluting colors as it can reduce the light fastness of many colors. Carolina Lettering Arts Society, Winter ‘90 Bulletin: Use a mix of gouache and Higgins Eternal to get the body of gouache and blackness of ink. (Peter Thomton) Jane Moore recommends Pro White mixed with white gouache for doing copperplate on envelopes. It gives an almost "raised" effect. (Chuck) ‘To write on plas:ic or glossy papers try using a few drops of Dr. Martin’s Flex-Opaque to your gouaches. John Neal says: "A life saver with some preprinted certificates." Fairbanks Society Newsletter, January 1991 Winsor Newton is producing a bleed-proof white-out recommended for retouching nonwaterproof drawings or watercolors. Hopefully these ideas will inspire us to try new and different things ‘or to remember some old that we haven't tried in a while. Once agai have ‘new ideas or discoveries, please let us know! Charlene "Chuck" Schuschel c/o Calligraphy Society of Arizona Post Office Box 27695 ‘Tempe, Arizona 85282 EVANS’ oomdER Meyspse spat vowen Five ACRES OF WOOD ~ One 8 wale ees. fone pighcic oak se0-~ Shred Hates pose iach) maveze give exucy ware Rivoupatle comrourre one Eye bien sheer one menoeo Lines shece fone Doume-pitlevamccness ‘Shlch poup Bouse pr a gpeae chest mane oF Saag cate pow Lock Ano fever Foun peucer places fone great wheel Macaca och wns 3 see at ee eich cove ees J go we tah wey fe pepe roe 1B Pets Serge ce pygmy Sena NRE Pees Tmccen m che year oF ouR tape asus aero ™ wien FRANCENE SMITH ‘gouache on Canson "x17 What Books do you recommend? This must be one of the most-asked questions a teacher receives. And the answers vary widely as there are so many calligraphy books available. The problem is that all of them (as with anything else) are not the best. So WHAT are the best books to recommend for beginning students? Just such a question was answered for the "Calligraphy Review" Winter 1990 issue by well-known calligraphers across the nation. Editor Karyn Lynn Gilman naturally got a varied response. The following information is taken from the article in the magazine, Sheila Waters stated that there is not one perfect book. “It's hard to beat Johnston's "Writing and Muminating and Lettering," although all the cross-references make it very difficult. Waters also recommends "The Art of Calligraphy * by Marie Angel (now ‘out of print) and Charles Pearce’s "The Anatomy of Letters", which she says is probably better than his ‘earlier books. ‘Then we go to Alice Koeth of New York. Alice likes "The Little Manual f Calligraphy" by Charles Pearce as does Reggie Ezell of Chicago. (Go the diversity starts.) Alice also recommends "Written Letters" by Jacqueline Svaren and "Pen Lettering" by Ann Camp. "Creative Calligraphy" (by Hermann Zapf) “offers fine examples for copyists,” states Alice. ‘Thomas Ingmire recommends "Pen Lettering" and early works of Charles Pearce. Brodie le yey “ oun ss Neuenschwander from the United Kingdom says, “Charles Pearces’ books are good. He isn't consistent as Ann Camp, but his letter forms are far and away more beautiful, although they aren't always directly related to the concepts he is describing. He manipulates the pen but he doesn't explain this in his text." "Pen Lettering" and (for Italic) "A Handwriting Manual’ by Alfred Fairbanks," are two choices of Gaynor Goffe, United Kingdom. ‘The supply houses -- Pendragon, John Neal, Bookseller, and Paper and Ink Books - see Charles Pearces’ books, Ann Camp's books and "Italic Letters" by DuBay and Getty selling. (Fran Strom, during her workshop, recommended the latter book and also "Write Now," an adult writing book by the same authors.) ‘The recommended books are as varied as people's tastes. Most of the polled Calligraphers recommended "Pen Lettering” and the works of Charles Pearce. Another popular book was. the "Story Of Writing’ by Donald Jackson. This book is out of print although some copies are still available and our CSA library has a copy for members to check out: Our local teachers also had a varied response to books they recommend for their beginning students: Jane Moore, teacher at Mesa Community College and at The Stamp Mill, recommends Charles Pearce, Ann Camp and Lloyd Reynolds, Rita Doherty, who teaches in the Sun City area, recommends Ann Camp, "Written Letters," and "The Story of Writing.” Ken Walko teaches all throughout the Phoenix area, and says he likes "Calligraphy in ‘Ten Easy Lessons* by Eleanor Winters and Laurie E. Lico as "It has the most straight forward approach." Ken also recommends "The Calligrapher’s Dictionary, by Rose Folsom, "Copperplate Calligraphy” by Dick Jackson, and "Layout and Design for Calligraphers" by Alan Furber. Patricia Bailey, a new teacher in the Chandler ‘area, recommends “Italie Calligraphy and Hand Writing, Exercise and Text" by Lloyd Reynolds, *Pen Lettering” by ‘Ann Camp, "Written Letters" by Jaki Svaren and "A Handwriting Manual” by Alfted Fairbanks. Kristen Or, Mesa Parks and Recreation teacher, recommends ‘Ann Camp and Donald Jackson. Another favorite of Kristen's is Marie Angel's "Painting for Calligraphers." Barbara Mead, who teaches in Gilbert, likes to tell her students to get "The Calligraphy Source Book" by Miriam Stribley, "The Calligrapher’s Handbook" by Heather Child, and "The Mystic Art of Written Forms" by Friederich Neugebauer. Nancy Pilgrim, a teacher in Tempe and Scrittore editor, recommends Ann Camp, and Jaki Svaren’s "Written Letters.” ‘An ABC-book Erik Lindegren, out of print ‘Advanced Calligraphy Techniques Diana Hoare. $17.98 (hard cover) ‘The Anatomy of Letters Charles Pearce Taplinger Publishing Co. $10.95 ‘The Art of Calligraphy Marie Angel, out of print. ‘The Art of Lettering Albert Kapr, out of print. Basic Skills: Calligraphy Techniques and Creative Projects for Beginners Anne Trudgill Watson Guptill Publications, $8.95 ‘The Calligrapher’s Handbook Heather Child, Ed. A&C Black, London, $13.95 ‘The Calligrapher’s Project Book ‘Susanne Haines, out of print. Calligraphy Today, second edition Heather Child, Ed. Taplinger Publishing Co. $9.95 Contemporary Calligraphy: Moder Scribes and Lettering Artists II Taplinger Publishing Co. $29.95 (hard cover) CALLIGRAPHY BOOKS FOR BEGINNERS ‘The Craft of Calligraphy Dorothy Mahoney, out of print Creative Calligraphy Hermann Zapf, Rotring, $7.50 Greative Lettering Michael Harvey ‘The Bodleyhead Ltd., $19.95 Handwriting for Today ‘Tom Gourdie, out of print ‘A Handwriting Manual Alfred Fairbanks, out of print Historical Scripts Stan Knight ‘ARC Black, $9.95 (paperback) $14.95 (hard cover) A History of Illuminated Manuscripts Christopher DeHamel, David R. Godine $45 (hard cover) International Calligraphy Today out of print ‘The Irene Wellington Copy Book Omnibus Edition ‘Taplinger Publishing Co., $3.95 Italic Letters Inga Dubay and Barbara Getty Prentice Hall Press, $14.95 The Little Manual of Calligraphy Charles Pearce ‘Taplinger Publishing Co. $3.95 ‘Modem Scribes and Lettering Artists I out of print ‘More Than Fine Writing Heather Child, Heather Collins, ‘Ann Hechle, Donald Jackson The Overlook Press, $35 (hard cover) ‘The Mystic Art of Written Forms Friederich Neugebauer ‘Neugebauer Press, $15 (paperback) $24.95 (hard cover) Painting for Calligraphers Marie Angel The Overlook Press, $27.50 Pen Lettering ‘Ann Camp. Taplinger Publishing Co., $4.95 ‘The Story of Writing Donald Jackson, out of print Writing & Muminating & Lettering Edward Johnston ‘Taplinger Publishing Co., $16.95 Written Letters Jacqueline Svaren ‘Taplinger Publishing Co., $14.95 ‘A Young Person’s Guide to Calli- graphy Charles Pearce, out of print jeus t fer BECKY SMITH ‘automatic pen on rough watercolor paper BE x10 Cu 622, (/ J Hi BiTl?? FO by Mary Rinne Brass rubbings. Brass rubbings. ‘Those words seemed to be coming up in conversation all the time as my husband and I prepared for our trip to England last summer. Jack was going to a fish conference (that’s the kind of work he does), and I was going along for the ride. We had a wonderful time, and of course when we got to London, one of the things high on our list was to seek out some places to do brass rubbings. I pulled out my trusty Frommer's book and looked up brass rubbings. We chose to go to the London Brass Rubbing Centre, at St. Martin-in-the-Fields Church. It is housed in a big brick-vaulted 1730's crypt. Once there, we had numerous copies of bronze portraits to choose from. All supplies needed (the paper, metallic wax marker similar to a primary sized crayon, and a lady who helped us choose a bronze and prepare it for rubbing), were there ready for us. Doing a brass rubbing is really a very simple procedure. It reminded me of making leaf prints in grade school. After choosing the rubbing ‘we wanted to do and getting the supplies, we secured the black paper to the corners of the brass plate with masking tape. Then we Mary in the process of doing a rubbing found a quiet comer and started rubbing. In about half an hour we had produced a very nice brass rubbing. The price to do the rubbing is figured according to the size of the brass piece you choose to use. The larger ones cost more. It was quite reasonable, ranging from $1 to $20 or $30. After visiting St. Martin's and doing our first rubbing, we went to Westminster Abbey and checked out their brass rubbings. It was a bit less expensive at Westminster, but the instructions were much better at St. Martin's. We did several rubbings, including one for Jack's parents for their SOth Wedding Anniversary. It was quite large and took about an hour to do. During the time we worked on it, we drew quite a crowd. People would stop and quietiy watch as we worked away. It was a lot of fun and we produced some unusual and beautiful gifts. There were also small plastic replicas of the large brass pieces to purchase. ‘They could be used to do rubbings from also, though the quality or durability was not as great as the brass. I purchased a copy of the Madonna and child. That is what used to make our Christmas cards this year. After returning home, I added calligraphy to some of the rubbings for a unique piece. The biggest problem I encountered in doing this was trying to march a gouache to the color and texture of the wax. I never came up with what | thought was a perfect match, but if you step a few feet back from the piece, it looks OK. We had a great time doing the rubbings, and I would encourage anyone making a trip to England to at least give it a try. I think you will be amazed at how easily you can produce a beautiful and ‘unusual piece of art. ‘The clothesline holds not clothes, but small, tightly wound balls of cotton and cat fur fastened with a clothespin . .. building materials for the local birds. Weathergrams from Francene Smith hang in her mulberry tree where a hummingbird has built her nest. Exotic wild flowers and plants are everywhere. Shells, desert treasures, wind chimes, brightly-colored beads . .. life and creativity surround Patricia Bailey's outdoor studio. “This is why working outdoors at the Renaissance Fair was so easy. Tm used to working outdoors, and the open atmosphere helps creativity and allows such a free feeling,” says Pat. Sitting in Pat's chair, surrounded by nature, it was easy to see where Pat gets her inspiration! Pat really has three places in her Mesa home where she likes to work ~ her patio, her kitchen and a spare bedroom ~ all complete with drawing table, inks, books, papers, quotations and eccentricity. Pat emphasizes that these are not studios, but simply places to work! In 1986, after 28 years as a secretary, buyer and office supervisor, Pat began to study calligraphy, taking her first class at a craft shop. "Not the best Interview and Photos by Sharon Bernier techniques, but enough to keep me interested,” says Pat. She continued to study with Kristen Orr and Janie Moore and soon became hooked. Dick Beasley influenced her with his belief that learning to draw helps you to see, and Pat began classes in drawing and watercolor. It was the magic and influence of Victoria Pittman that caused Pat to become absolutely entranced with what has become her specialty ~ pen-made designs ~ flowers, chili peppers, strawberries, etc. all’ made with the Automatic Pen, She prefers the vibrancy of Dr. Martin’s watercolors, although they are fugitive. Pat also uses Higgins Eternal and Windsor Newton India Ink. Her paper favorites include Ganson Mi Tientes, Arches 140# cold press and 90# hot press. Also, Pat believes ceramic pallets (versus plastic) make a significant difference in one’s work It was at the 1991 Renaissance Fair that Pat felt she realized her true style... uncomplicated and free. "Roman caps and beautifully perfect letters do not come easily," although her goal is to become more disciplined at practicing. She also plans to leam more about layout and design and become more proficient in drawing and ‘watercolors since they are a perfect accompaniment to calligraphy. Pat's philosophy permeates her environment as illustrated by quotations displayed throughout “Reach beyond the ordinary.” “Life is a celebration.” and Jan So many things inspire Pat... her Gray's quote "She plays with letters, garden, her cats, birds, poetry, plants and flowers while beautifully exotic floral scents, hiking in the spreading her colours." mountains or walking on the PATRICIA BAILEY ‘Strawberry on Classic Linen drawn with ‘automatic pen and Higgins Eternal beach, kaleidoscopes, crystals and seeing other calligraphers’ work. Most of all, however, were some of her favorite authors ... Gwen Frostie, Susan Polis Schutz, Edna St. Vincent Millay (especially "Portrait by a Neighbor"), Henry Thoreau, Ralph Waldo Emerson, Oscar Wilde ... the list goes on and on! Her favorite quote is one by Minnie Aumonier. . ."When the World wearies and society ceases to satisfy, there is always the garden.” She is most inspired by Chief Seattle who in 1854 summarized what Pat believes in ... "This Earth is Precious,” or as explained by Pogo, "We have met the enemy and the enemy is us." Pat also credits the members of CSA as the most sincere and most giving people she has ever met and feels fortunate she "stumbled on to calligraphy.” ‘As a footnote, there is a quotation (author unknown) that Pat did not refer to during our interview, but must be mentioned since’ Pat illustrates it beautifully with her pen designs and it truly describes this most wonderful lady... "T want to be an outrageous old ‘woman who never gets called old lady. I want to get leaner and meaner, sharp-edged and earth-colored till I fade away from pure joy." n = FROM GRAND CANYON UNIVERSITY DR. BILL R. WILLIAMS, PRESIDENT QA In) tha ‘See to it that no one takes you captive through hollow ears the ae tion and the basic principles of this world rather than on Chris. For in Christ al the fullness ofthe Diety lve in boty form, and you have this fullness in Christ, who isthe head over every power and authority ‘COLOSSIANS 2:8:10 bookplate prised maroon on ser stock calligraphy dane on wateraor paper, then reversed Trees cLap cheig hanos IN CELEBRATION oF the evans’ TEDDING AT RENAISSANCE Mapecb 1x MCMXCL MEE sure tnvtatin fora "Local Yoke” wedding at the Renaissance Festival derie ude PATRICIA BAILEY Tape nib and Higgins Ink A grass“bank. beyond] OUR DUC A. blue sky of spring. ‘White clouds on the ong JNJ A POND What a litle thing’ “To remember for years... TO REMEMBER. WITH TEARS. Wil Allngham. pk REDE. patx’®* 9 pe ugh URE RIDE ri FRIE] PEACE, Seton nc tM P AIX FRG AE eau: a “a What & man withoul the beask? fae fall the beasts were Gone, men would de . from great loneliness piri for whittever happens jo We beasts also haqppens to the nian. cnief Secale, W535 Do nat stand by my grave and weep, I: aogut-thate. Ytinet eee. ? Jam a thousand winds that bow, Iam i ae BARBARA MEAD gouache on textured paper brush stroke done wich orienta brush ering with Shiva #4 the sume pi the gentle aut When you awaken in J amthesrift pli EVERY THING BE UPFULL AND hc VIS FAL me igenad grmin., — OF guict birds ier flights L the morning Muth; Do not stan by my grave and oy, fing 1st, I amt there.

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