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 all the more impressive. A gray-silver haze hangs in the great arches. Against the brightness of the western opening the locomotives come gliding in with a restful relaxation of effort, black indistinguishable profiles. The locomotives are the only restful things in the scene—they and the red-capped porters, who have the priestly dignity of oracles who have laid aside all earthly passions. Most of the human elements wear the gestures of eagerness, struggle and perplexity. The Main Line commuters, it is true, seem to stroll trainward like a breed apart, with an air of leisurely conquest and assurance. They have the bearing of veterans who have conquered the devils of transportation and hold them in leash. But this superb carelessness is only factitious. Some day their time will come and they will fall like the rest of us. They will career frantically to and fro, dash to information desk and train bulletin, rummage for tickets and wipe a beaded brow. What gesture, incidentally, is so significantly human as that of mopping the forehead? If I were a sculptor at work on a symbolic statue of Man I would carve him with troubled and vacant eyes, dehydrating his brow with a handkerchief.

Take your stand by the train gate a few moments before the departure of the New York express. What a medley of types, and what a common touch of anxiety and wistfulness makes them kin! Two ladies are bidding each other a prolonged farewell. "Now, remember, 7 Howland [sic]