heir ceremonies reveal a taste for art and a poetical imagination
which are very remarkable. The lone Indian who places his wigwam in
the midst of the mountains seems to be always a stranger. The scenery
has no effect upon him. It makes his spirit sad and his music
plaintive, for he breathes out his spirit in his music. He never has
had and never will have the character which some of his ancestors
cultivated amid the wild scenes. His race is doomed; his fate is
sealed. He can never catch up with the progress of the time.

The railroad is bound to take the place of the Indian trail; the
miners' cabin must supplant the Indian wigwam. Great cities will rise
near where ancient villages stood, but the savage fails to appreciate
the thought or the character of the people who have supplanted him.
The wigwam amid the mountains is a symbol of what he is, but the
locomotive at its side is an emblem of progress and of promise to
those who will use their opportunities. The mountains are in the
background--they suggest the possibilities which are before the
settler. They interpose barriers, but the barriers themselves are
fraught with good influences. Freedom has always dwelt among the
mountains. Reverence for the Almighty has also prevailed. The leveling
process must cease and man become more elevated in his thoughts as he
rises to the altitude of these great heights.--The American
Antiquarian.

* * * * *

A NOVEL WAY OF RIDING A BICYCLE.

"Artists" of the variety stage and the circus are always trying to
find something new, for the same old trapeze performances, trials of
strength, performances of rope dancers, etc., have been presented so
many times that anyone who invents an entirely new trick is sure of
making a large amount of money out of it; the more wild and dangerous
it is, the better. Anything that naturally stands on its feet but can
be made to stand on its head will be well received in the latter
attitude by the public. Some such thought as this must have been in
the mind of the man who conceived the idea of riding a bicycle on the
ceiling instead of on the floor. The "trick" originated with the Swiss
acrobat Di Batta, who, being too old to undertake such a performance
himself, trained two of his pupils to do it, and they appeared with
their wheel in Busch Circus in Berlin. The wheel, of course, ran on a
track from which it was suspended in such a way that it could not
fall, a