eal a penny toy in the Metropolitan area. There are two
hundred and seventy-nine pages in this story of crime, as seen by the
man at the very centre of things, and nearly every one of them is packed
with matter of absorbing interest. Consider the titles of the chapters:
"Bombs and their Makers"; "Motiveless Murders"; "Half-a-day with the
Blood-hounds." This, I submit, is the stuff; this, I contend, is the
sort of thing you were looking for. There is something so human and
simple in Sir MELVILLE'S method of narration that it is with an effort
that one realises what an important person he really was, and what
extraordinary ability he must have had to win and hold his high
position. Even when he disparages blood-hounds I reluctantly submit to
his superior knowledge and abandon one of my most cherished illusions. I
hate to do it, but if he says that a blood-hound is no more use in
tracking criminals than a Shetland pony would be, I must try to believe
him.

* * * * *

Illustration: THE COMPLETE SALESMAN.

_Lady_ (_rather difficult to please_). "I LIKE THIS ONE, BUT--I SEE IT'S
PRINTED IN GERMANY."

_Salesman._ "WELL, IF YOU LIKE IT, MADAM, I WOULDN'T TAKE TOO MUCH
NOTICE OF THAT STATEMENT. IT'S PROBABLY ONLY ANOTHER GERMAN LIE!"

* * * * *

Revenge.

"After Herr Von Holman Bethwig's wild speech in the German Reichstag
the Government might change their minds."

_Cork Constitution._

It isn't much one can do to the GERMAN CHANCELLOR just now, but these
misprints of his name always annoy him, and every little helps.

* * * * *

End of the Project Gutenberg EBook of Punch or the London Charivari, Vol.
147, December 16, 1914, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK PUNCH ***

***** This file should be named 29652.txt or 29652.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/9/6/5/29652/

Produced by Neville Allen, Malcolm Farmer and the Online
Distributed Proofreading Team at http://www.pgdp.net

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royal