s two or three with the staff. Besides acting as guides they
are interpreters, and handy men generally. All these little subtractions
reduce our main body to about a hundred, or a little less; and this main
body, under Rimington himself, acts as scouts and ordinary fighting men.
In fact, a true description of us would be "a corps of scouts supplying
guides to the army."

One word about the country and I have done. What strikes one about all
South African scenery, north and south, is the simplicity of it; so very
few forms are employed, and they are employed over and over again. The
constant recurrence of these few grave and simple features gives to the
country a singularly childish look. Egyptian art, with its mechanical
repetitions, unchanged and unvaried, has just the same character. Both
are intensely pre-Raphaelite.

South Africa's only idea of a hill, for instance, is the pyramid. There
are about three different kinds of pyramid, and these are reproduced
again and again, as if they were kept all ready made in a box like toys.
There is the simple kopje or cone, not to be distinguished at a little
distance from the constructed pyramids of Egypt, just as regular and
perfect. Then there is the truncated or flat-topped pyramid, used for
making ranges; and finally the hollow-sided one, a very pretty and
graceful variety, with curving sides drooping to the plain. These are
all. Of course there are a few mistakes. Some of the hills are rather
shakily turned out, and now and then a kopje has fallen away, as it
were, in the making. But still the central idea, the type they all try
for, is always perfectly clear. Moreover, they all are, or are meant to
be, of exactly the same height.

Most strange and weird is this extraordinary regularity. It seems to
mean something, to be arranged on some plan and for some humanly
intelligible purpose. In the evenings and early mornings especially,
when these oft-repeated shapes stand solemnly round the horizon, cut
hard and blue against the sky like the mighty pylons and propylons of
Egyptian temples, the architectural character of the scenery and its
definite meaning and purpose strike one most inevitably. So solemn and
sad it looks; the endless plains bare and vacant, and the groups of pure
cut battlements and towers. As if some colossals here inhabited at one
time and built these remains among which we now creep ignorant of their
true character. The scenery really needs such a race of