Every crevice is the home of insects, or used by them for the deposit of their eggs—under the tiles or slates, where mortar has dropped out between the bricks, in the holes of thatch, and on the straws. The number of insects that frequent a large roof must be very great—all the robins, wrens, bats, and so on, can scarcely affect them; nor the spiders, though these, too, are numerous. Then there are the moths, and those creeping creatures that work out of sight, boring their way through the rafters and beams. Sometimes a sparrow may be seen clinging to the bare wall of the house; tits do the same thing—it is surprising how they manage to hold on—they are taking insects from the apertures of the mortar. Where the slates slope to the south, the sunshine soon heats them, and passing butterflies alight on the warm surface, and spread out their wings, as if hovering over the heat. Flies are attracted in crowds sometimes to heated slates and tiles, and wasps will occasionally pause there. Wasps are addicted to haunting houses, and in the autumn, feed on the flies. Floating germs carried by the air must necessarily lodge in numbers against roofs; so do dust and invisible particles; and together, these make the rain-water collected in water-butts after a storm turbid and dark; and it soon becomes full of living organisms.
Lichen and moss grow on the mortar wherever it has become slightly disintegrated; and if any mould, however minute, by any means accumulates between the slates, there, too, they spring up, and even on the slates themselves. Tiles are often coloured yellow by such growths. On some old roofs, which have decayed, and upon which detritus has accumulated, wallflowers may be found; and the house-leek takes capricious root where it fancies. The stonecrop is the finest of roof-plants, sometimes forming a broad patch of brilliant yellow. Birds carry up seeds and grains, and these germinate in moist thatch. Groundsel, for instance, and stray stalks of wheat, thin and drooping for lack of soil, are sometimes seen there, besides grasses. Ivy is familiar as a roof-creeper. Some ferns and the pennywort will grow on the wall close to the roof. Where will not ferns grow? We saw one attached to the under-side of a glass coal-hole cover; its green could be seen through the thick glass on which people stepped daily.
Recently, much attention has been paid to the dust which is found on roofs and ledges at great heights. This meteoric dust, as it is called, consists of minute particles of iron, which are thought to fall from the highest part of the atmosphere, or possibly to be attracted to the earth from space. Lightning usually strikes the roof. The whole subject of lightning-conductors has been re-opened of late years, there being reason to think that mistakes have been made in the manner of their erection. The reason English roofs are high-pitched is not only because of the rain, that it may shoot off quickly, but on account of snow. Once now and then there comes a snow-year, and those who live in houses with flat surfaces anywhere on the roof soon discover how inconvenient they are. The snow is sure to find its way through, damaging ceilings, and doing other mischief. Sometimes, in fine summer weather, people remark how pleasant it would be if the roof were flat, so that it could be used as a terrace, as it is in warmer climates. But the fact is the English roof, although now merely copied and repeated without a thought of the reason of its shape, grew up from experience of severe winters. Of old, great care and ingenuity—what we should now call artistic skill—were employed in constructing the roof. It was not only pleasant to the eye with its gables, but the woodwork was wonderfully well done. Such roofs may still be seen on ancient mansions, having endured for centuries. They are splendid pieces of workmanship, and seen from afar among foliage, are admired by every one who has the least taste. Draughtsmen and painters value them highly. No matter whether reproduced on a large canvas or in a little woodcut, their proportions please. The roof is much neglected in modern houses; it is either conventional, or it is full indeed of gables, but gables that do not agree, as it were, with each other—that are obviously put there on purpose to look artistic, and fail altogether. Now, the ancient roofs were true works of art, consistent, and yet each varied to its particular circumstances, and each impressed with the individuality of the place and of the designer. The finest old roofs were built of oak or chestnut; the beams are black with age, and in that condition, oak is scarcely distinguishable from chestnut.
So the roof has its natural history, its science, and art; it has its seasons, its migrants and residents, of whom a housetop calendar might be made. The fine old roofs which have just been mentioned are often associated with historic events and the rise of families; and the roof-tree, like the hearth, has a range of proverbs or sayings and ancient lore to itself. More than one great monarch has been slain by a tile thrown from the housetop, and numerous other incidents have occurred in connection with it. The most interesting is the story of the Grecian mother, who with her infant was on the roof, when, in a moment of inattention, the child crept to the edge, and was balanced on the very verge. To call to it, to touch it, would have insured its destruction; but the mother, without a second’s thought, bared her breast, and the child eagerly turning to it, was saved!
BY MEAD AND STREAM.
CHAPTER XXXIV.—JUDGE ME.
Mr Beecham had spoken the words, ‘You must know it all,’ as if they contained a threat, but impulse directed tone and words. He became instantly conscious of his excitement, when he saw the startled expression with which Madge regarded him. His emotion was checked. Mechanically, he gripped the bridle of his passion, and held it down as a strong man restrains a restive horse.
‘Shall I go on?’ he said with almost perfect self-control, although his voice had not yet quite regained its usual softness. ‘I know that you will be pained. I do not like that, and so you see me hesitating, and weakly trying to shift the responsibility from my own shoulders. Shall I go on?’
‘I am not afraid of pain,’ she answered quietly, but with a distant tremor in her voice; ‘and if you think that I should hear what you have to say, say it.’
‘Then I will speak as gently as it is in my power to do; but this subject always stirs the most evil passions that are in me. I want to win your confidence, and that impels me to tell you why I doubt Philip—it is because I know his father to be false.’