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Build Your Own Website The Right Way Using HTML
CSS 3rd Edition Ian Lloyd Digital Instant Download
Author(s): Ian Lloyd
ISBN(s): 9780987090881, 0987090887
Edition: 3
File Details: PDF, 26.73 MB
Year: 2011
Language: english
Summary of Contents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
1. Setting Up Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2. Your First Web Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3. Adding Some Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
4. Shaping Up Using CSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5. Picture This! Using Images on Your Website . . . . . . . . . . . . . . . . . . . . . . . . 175
6. Tables: Tools for Organizing Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
7. Forms: Interacting with Your Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
8. Interacting with Social Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
9. Launching Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
10. Enhancing the Site with HTML5 and CSS3 . . . . . . . . . . . . . . . . . . . . . . . . . 367
11. Adding Interactivity with jQuery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
12. What to Do When Things Go Wrong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
13. Pimp My Site: Cool Stuff You Can Add for Free . . . . . . . . . . . . . . . . . . . . 457
14. Where to Now? What You Could Learn Next . . . . . . . . . . . . . . . . . . . . . . . 483
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
BUILD YOUR OWN
WEBSITE THE
RIGHT WAY USING
HTML & CSS
BY IAN LLOYD
3RD EDITION
iv

Build Your Own Website The Right Way Using HTML & CSS
by Ian Lloyd

Copyright © 2011 SitePoint Pty. Ltd.

Program Director: Lisa Lang Editor: Kelly Steele

Technical Editor: Tom Museth Indexer: Angela Howard
Technical Director: Kevin Yank Cover Design: Alex Walker
Printing History:
First Edition: April 2006
Second Edition: November 2008
Third Edition: July 2011

Notice of Rights
All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted
in any form or by any means, without the prior written permission of the publisher, except in the case
of brief quotations embodied in critical articles or reviews.

Notice of Liability
The author and publisher have made every effort to ensure the accuracy of the information herein.
However, the information contained in this book is sold without warranty, either express or implied.
Neither the authors and SitePoint Pty. Ltd., nor its dealers or distributors will be held liable for any
damages to be caused either directly or indirectly by the instructions contained in this book, or by the
software or hardware products described herein.

Trademark Notice
Rather than indicating every occurrence of a trademarked name as such, this book uses the names only
in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of
the trademark.

Published by SitePoint Pty. Ltd.

48 Cambridge Street
Collingwood VIC Australia 3066
Web: www.sitepoint.com
Email: [email protected]

ISBN 978-0-9870908-5-0 (print)

ISBN 978-0-9870908-8-1 (ebook)

Printed and bound in the United States of America
 v

About Ian Lloyd

Ian Lloyd is a senior web designer/developer who works full time for a major financial services
organization in the UK on their various websites. He is the author or co-author of a number
of web development books, including SitePoint’s Ultimate HTML Reference. He has also
contributed articles to industry-leading sites such as A List Apart, Think Vitamin, and .net
magazine. Ian has spoken at several high profile web conferences on the topic of web access-
ibility—including South By Southwest (SXSW) in Austin, Texas and @media in London—and
founded one of the earliest online accessibility resources, Accessify (http://accessify.com/),
in 2002.

Ian’s on Twitter as @lloydi, or you can follow the book’s Twitter account that he posts on
(albeit less frequently, but on stuff more relevant to this book), which is @byowebsite.

About Tom Museth

Tom Museth first fell in love with code while creating scrolling adventure games in BASIC
on his Commodore 64, and then usability testing them on reluctant family members. He then
spent 16 years as a magazine writer, newspaper journalist, and production editor before de-
ciding web development would be much more rewarding. He has a passion for jQuery, PHP,
HTML5, and CSS3, is eagerly eyeing the world of mobile dev, and likes to de-stress via a
book, a beach, and a fishing rod.

About SitePoint

SitePoint specializes in publishing fun, practical, and easy-to-understand content for web
professionals. Visit http://www.sitepoint.com/ to access our books, newsletters, articles, and
community forums.
For Manda, my “better half.” This
book would not have been
possible without your continued
support. All my love, Lloydi.
Table of Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
What is a Browser? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii
Who Should Read This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiv
What You’ll Learn from This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxv
How You’ll Learn to Build Your Website . . . . . . . . . . . . . . . . . . . . . . . . . xxvi
HTML, Markup, CSS … Welcome to Your First Bits of Jargon! . . . xxvi
Building the Example Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxviii
What This Book Won’t Tell You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxviii
What’s in This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxix
Where to Find Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxii
The SitePoint Forums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxii
The Book’s Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxii
The SitePoint Newsletters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiii
The SitePoint Podcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiii
Your Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiii
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiv
Conventions Used in This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxv
Markup Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxv
Tips, Notes, and Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxvi

Chapter 1 Setting Up Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The Basic Tools You Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Windows Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Mac OS X Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Beyond the Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Windows Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Mac OS X Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
x

Not Just Text, Text, Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Windows Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Mac OS X Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Online Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Creating a Spot for Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 2 Your First Web Pages . . . . . . . . . . . . . . . . . . . 21

Nice to Meet You, HTML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Anatomy of a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Viewing the Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Basic Requirements of a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The Doctype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The html Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The head Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
The title Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
meta Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Other head Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The body Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The Most Basic Web Page in the World . . . . . . . . . . . . . . . . . . . . . . . 32
Headings and Document Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
For People Who Love Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Commenting Your HTML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Diving into Our Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Home Page: the Starting Point for All Websites . . . . . . . . . . . . 43
Splitting Up the Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
 xi

Linking Between Our New Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

The blockquote (Who said that?) . . . . . . . . . . . . . . . . . . . . . . . . . . 68
The cite Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
strong and em . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Taking a Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Chapter 3 Adding Some Style . . . . . . . . . . . . . . . . . . . . . . 73

What is CSS? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Inline Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Adding Inline Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
The span Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Embedded Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Jargon Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Why Embedded Styles Are Better Than Inline Styles . . . . . . . . . . . . 79
External stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Why External Stylesheets Are Better Than Embedded Styles . . . . . 80
Creating an External CSS File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Linking CSS to a Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Starting to Build Our Stylesheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Stylish Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
A Mixture of New Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
A New Look in a Flash! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
A Beginner’s Palette of Styling Options . . . . . . . . . . . . . . . . . . . . . . . 94
Recap: the Style Story so Far . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Looking at Elements in Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Contextual Selectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Grouping Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Which Rule Wins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Recapping Our Progress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
xii

Styling Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Class Selectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Styling Partial Text Using span . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Chapter 4 Shaping Up Using CSS . . . . . . . . . . . . . . . . 119

Block-level Elements versus Inline Elements . . . . . . . . . . . . . . . . . . . . . . 120
Block-level Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Inline Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Inline Begets Inline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Inline Elements Can Never Contain Block-level Elements . . . . . . . 124
Styling Inline and Block-level Elements . . . . . . . . . . . . . . . . . . . . . 125
Sizing Up the Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Setting a Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Setting a Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Adding Borders to Block-level Elements . . . . . . . . . . . . . . . . . . . . . . . . . 130
Example Borders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Styling Individual Sides of an Element . . . . . . . . . . . . . . . . . . . . . . 135
Shorthand Border Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Border Styles You Can Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Shaping and Sizing Our Diving Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Adding Padding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Introducing Padding to the Project Site . . . . . . . . . . . . . . . . . . . . . 144
Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
The Box Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Positioning Elements Anywhere You Like! . . . . . . . . . . . . . . . . . . . . . . . . 148
Showing the Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Absolute Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Other Layout Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
More Absolute Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
 xiii

Relative Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Floated Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Styling Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Chapter 5 Picture This! Using Images on

Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Inline Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Anatomy of the Image Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Web Accessibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
JPEG versus GIF versus PNG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
PNG: King of Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Adding an Image Gallery to the Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Updating the Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Adding the New Gallery Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Adding the First Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Formatting the Picture Using CSS . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Captioning the Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Basic Image Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Image Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Resizing Large Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Other Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Filling up the Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Sourcing Images for Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Background Images in CSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Repeated Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Nonrepeating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Shorthand Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
xiv

Fixed Heights and Widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Setting a Background for Our Navigation . . . . . . . . . . . . . . . . . . . 214
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 6 Tables: Tools for Organizing

Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
What is a Table? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Anatomy of a Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Styling the Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Borders, Spacing, and Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Making Your Tables Accessible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Linearization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Captioning Your Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Adding an Events Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Stylish Table Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Advanced Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Merging Table Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Advanced Accessibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 7 Forms: Interacting with Your

Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Anatomy of a Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
A Simple Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
The Building Blocks of a Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
The form Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
The fieldset and legend Elements . . . . . . . . . . . . . . . . . . . . . . 247
The label Element . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Random documents with unrelated
content Scribd suggests to you:
singing birds, the blooming of flowers, and the tonic of the sea breeze, one
may read his epitaph, written by himself, but for another:

“Under the wide and starry sky,

Dig my grave and let me lie.
Glad did I live and gladly die,
And I laid me down with a will.

“This be the verse you grave for me,

Here he lies where he longed to be,
Home is the sailor, home from the sea,
And the hunter home from the hill.”

Cecil John Rhodes admired the grandeur of the Matoppo Hills in

Rhodesia, and directed in his will that he be buried there in a square to be
cut out of the rock on the top of a hill at a point which commanded a
magnificent view of the surrounding country.

Helen Hunt Jackson, the authoress, was buried at her direction, on

Cheyenne Mountain, near the top of Seven Falls, a short distance from
Colorado Springs, Colorado; she desired this for her last resting place, on
account of her love for the surroundings, which are of rare beauty, and
which no doubt gave her inspiration for her literary productions.

Thomas Jefferson, his wife and two daughters are buried near the crest
of Monticello, “Little Mountain.”
Monticello, the home of Jefferson, is beautifully situated, and commands
a view of the town of Charlottesville, the University of Virginia, and the
neighboring country. It has long been known as one of the most picturesque
spots in the South. For many years, a monument bearing the following
inscription from his own pen marked Jefferson’s grave:
HERE WAS BURIED
THOMAS JEFFERSON
AUTHOR
OF THE DECLARATION OF
AMERICAN INDEPENDENCE
OF
 THE STATUTE OF VIRGINIA
FOR RELIGIOUS FREEDOM, AND
FATHER OF THE UNIVERSITY
OF VIRGINIA
BORN APRIL 2D
1743 O.S.
DIED [JULY 4]
[1826]
The old monument was removed about fifteen years ago, and now stands
on the campus of the University of Missouri, at Columbia, Missouri, and a
more imposing one was erected in its place.

No Trips to Europe
Mr. Jefferson G. James, an old and prominent citizen of San Francisco,
died in May, 1910; he was a pioneer cattle dealer and politician; he left a
large estate to be disposed of under his will, which was written with his
own hand and is an eccentric document. One provision in the nature of
advice to the distributees reads as follows:
“Don’t be mean. Don’t pay my employes more than is being paid them
now. No outside speculations. No expensive trips to Europe. Spend your
money in this country. Buy or build nice residences and live and enjoy
yourselves among people you know. The dividends to the small
stockholders will assist in the support of a family.”
In a codicil, he recurs to the subject of European travel, which seems to
have been a pet aversion; he again says, “No trips to Europe.”

Rights of an Uxoricide Denied

An appeal from a decision of Vice-Chancellor Malins, of London,
questioning the rights of M. de Tourville to inherit under his wife’s will,
was decided against him.
M. de Tourville was found guilty of murdering his wife by flinging her
down a precipice while travelling with her near Botzen, Austria, in July,
1876. The marriage took place in November, 1875, and the lady was a
widow possessed of large property. The day after the marriage she made a
will, leaving her property to trustees for the benefit of her children, should
there be any, but in default of such, she gave the whole to her husband, the
husband being cognizant of this arrangement, and thereby, as alleged by the
wife’s relations, instigated to commit the crime of which he was
subsequently convicted and sentenced to death by the Austrian courts.
Having appealed, however, his sentence was commuted to imprisonment for
eighteen years.
Under these circumstances, the wife’s relations claimed a declaration
that De Tourville was incapable of taking any interest under his wife’s will,
and argued that the property belonged to Madame de Tourville’s next of kin.
The Vice-Chancellor refused the application for a commission, on the
ground that the question of law should first be determined whether, in his
position, De Tourville should lose the benefits conferred on him by the will,
and directed an amendment of the pleadings for that purpose.
The case was further complicated by the fact that, previous to his
conviction, De Tourville had (not perhaps so cleverly as he thought)
assigned his interest under the will to another person.
The Master of the Rolls and Lords Justices James and Bramwell,
however, reversed the decision of the Vice-Chancellor, and granted the
application for a commission, the Master of the Rolls remarking that he was
at a loss to understand why the application should have been refused.

He answered the Questions

About the year 1875, “Scotch” John Wilson, a native of Scotland, then
living near Tecumseh, Nebraska, drove from his home his son, John Wilson,
and told him never to darken the doors again. The son had graduated from
an Iowa law school and wanted to practise law; the father wanted the son to
stay on the farm; they disagreed and this resulted in the son’s being driven
from home. He rode away on a circus train and never saw his parents again.
A few years ago, the elder Wilson died, leaving an estate valued at thirty
thousand dollars. By his will, he directed that this estate be turned over to
any claimant who might appear and say he was the missing son, and who
could answer thirty questions. These thirty questions dealt largely with
family history, dates, and other matters which were peculiarly within the
knowledge of the son.
The son appeared, after an absence of thirty-five years, and answering
satisfactorily the thirty questions before the Probate Court, was awarded the
estate. After the decision in his favor, he began crying and remarked, “I
would have preferred to have seen my mother rather than to take this
money.”

From under the Sea

On April 15th, 1910, while manœuvering off Kura in Hiroshima Bay,
Submarine No. 6 of the Royal Japanese Navy was sunk: her commander,
Lieutenant Saguma, and fourteen men were lost. When the vessel was
raised two days after the catastrophe, a document written by him was
discovered; it is a remarkable instrument and may be regarded as a
testamentary log. This paper, written when the commander was slowly
choking to death from the gases generated as the submarine lay helpless at
the bottom of the sea, is a striking instance of the spirit of silent sacrifice
and immolation found in the Japanese character. It reads as follows:
“I have no excuse or apology for having sunk His Majesty’s No. 6 submarine by my
carelessness, but the crew of the boat bravely and calmly discharged their duties. We now
die for the sake of our country, but we regret that the future development of submarines
will receive a heavy blow as the result of this disaster. It is, therefore, my hope that you
will engage in deeper study of the submarine without any misapprehension of disasters. If
you do this, we shall feel no regret at our deaths. We were making a gasoline dive when the
submarine sank lower than was intended, and we tried to close the sluice valve, when the
chain unfortunately snapped. I therefore closed the valve with my own hands, but it was
too late to avert disaster, and the boat sank with a list of 25 degrees. The boat sank at 10
A.M., and it is now 11.45 A.M. The depth of the water is about ten fathoms. I always expect
death when away from home. My will is therefore prepared and in the locker, and I hope
Mr. Taguchi will send it with this paper to my father.”

There were numerous other requests, one to the Emperor, an earnest

appeal to supply the means of livelihood to the poor families of the crew.

Written by Entombed Miners

In November, 1909, over three hundred miners were entombed for a
period of ten days in a mine at Cherry, near Spring Valley, Illinois. The
living were imprisoned with the dead. At the end of ten days, twenty-two
miners were rescued; those saved had kept themselves free from fatal gas
by building a barricade. Saved from death by suffocation, they were
threatened with death by thirst. Two of these men, self-constituted leaders,
gave orders for the protection of the community; they conducted religious
services and cared for the sick and exhausted, and their directions were
strictly carried out.
Two of the miners wrote wills while so imprisoned; they are pathetic
documents. The writer of the following will, Joe Pegati, was rescued:
“This is the 4th day that we have been down here. That’s what I think, but our watches
stopped. I am writing this in the dark because we have been eating the wax from our safety
lamps. I also have eaten a plug of tobacco, some bark and some of my shoe. I could only
chew it. I hope you can read this. I am not afraid to die. O Holy Virgin, have mercy on me.
“I think my time has come. You know what my property is. We worked for it together
and it is all yours. This is my will, and you must keep it. You have been a good wife. May
the Holy Virgin guard you. I hope this reaches you some time, and you can read it. It has
been very quiet down here and I wonder what has become of our comrades.
“Good-by until heaven shall bring us together.
“Joe Pegati.”

The writer of the second will, Samuel D. Howard, aged twenty-one, died
in the mine; his will in part is in these words:
“Alive at 10.30 o’clock yet. Sam D. Howard and Brother Alfred is with me yet. A good
many dead mules and men. I tried to save some, but came almost losing myself. If I am
dead give my diamond ring to Mamie Robinson. The ring is coming to the Post Office.
Henry can have the ring I have in my good clothes. The only thing I regret is that my
brother could not help mother after I am dead and gone.
* * * * * * *
“To keep me from thinking I thought I would write these few lines. There is rock
falling all over. We have our buckets full of water, seep water, and we drink it and bathe
our heads in it.
* * * * * * *
“Seven fifty o’clock in the morning. This is Sunday. There is no air. We have fanned
ourselves with the lids of our buckets. Twenty five after 9 and black damp coming both
ways. Twenty five after 10 we gave up all hope. We have done all we could. The fan had
better start above soon. Twenty five after 10 A.M. Sunday. We are still alive, the only hope
is the fan.
“I think I won’t have strength to write pretty soon. Fifteen after 12 o’clock Sunday. If
they can’t give us air, we will make fans ourselves. We take turns at the fan. We have three
of them going. Twenty seven to 3 P.M. and the black damp is coming in on us.

“Only for the fans we would be dead. Eleven to 4 P.M. dying for want of
air. We have six fans moving. One after another fifteen feet apart. We all
had to come back. We can’t move front or backward. We can stand it with
our fans until Monday morning.
“Fifteen after 2 A.M. Monday. Am still alive. We are cold, hungry, weak,
sick and everything else. Alfred Howard is still alive. 9.15 A.M.
“Monday morning, still breathing. Something better must turn up or we
will soon be gone. Eleven fifteen A.M. still alive at this time. Sixteen to 1
P.M. Monday, we are still getting weak, Alfred Howard as well as the rest of
us.”

The Town Crier

Doctor Roland Williams was an author of considerable distinction; he
was, at one time, professor in the College of St. David’s, Lampeter, South
Wales, but had difficulty with the faculty of that institution. He exiled
himself to a neighboring town, where he died, leaving in his will fifty
pounds to the town of Lampeter, one-third of the income of which is
perpetually to be given to the town crier, “for making proclamation once a
year, about midsummer, on a market day, that he, Roland Williams, never
consented to the election of George Lewellin to a scholarship in this
college, but in this and other things he was foully slandered by men in high
places; because he loved righteousness and hated iniquity; therefore, he
died in exile; but while unjust men permitted this, he both kept the needy
student by his right, and defended the alms of the altar of God.”

Curll’s Collection of Wills

A very curious and now rare collection of wills was made about 1720, by
Edmund Curll, who, according to Pope and Swift, possessed himself
surreptitiously of these as well as of many anecdotes of the private lives of
some of his contemporary celebrities, and published them anonymously,
garbling and altering in a scurrilous manner many of the facts he had
obtained, so that Arbuthnot observed to Swift that “Curll was one of the
new terrors of death;” and the author of “The Man of Taste” wrote:

“Long live old Curll! he ne’er to publish fears,

The verses, speeches, and last wills of Peers.”

Besides the memoirs and will of “Alderman John Barber,” of “Peter Le

Neve, Esq., Norroy King-at-Arms,” and that of “Anthony Collins, Esq.,” he
issued thirty-one pamphlets containing the “Life, Correspondence, and last
Will and Testament” of each of the following worthies. The list of them is
to be found on the last leaf of the said life of Alderman Barber, and is as
follows:
“ 1. Archbishop Tillotson. 16. Matthew Tindall, LL.D.
2. Bishop Atterbury (Dean of Ch. 17. Mr. Nelson.
Ch.). 18. Dr. Radcliffe.
3. Bishop Barnes. 19. Dr. Williams.
4. Bishop Curll. 20. Dr. South (2 vols., with his
5. Earl of Halifax. posthumous works).
6. Lord Carpenter. 21. Dr. Hickes.
7. Lord Chancellor Talbot. 22. Dr. Burnet (of the Charterhouse).
8. Lord Chancellor Pengelly. 23. Mr. W. Partridge (the Astrologer).
9. Judge Price. 24. Mr. Mahomet (Servant to his late
10. Rev. Mr. George Kelly. Majesty).
11. Mr. Wright of Newington. 25. Mr. John Guy.
12. Wm. Congreve, Esq. 26. Mr. Wills (the Comedian).
13. Mr. Addison. 27. Elias Ashmore, Esq.
14. Mr. Prior. 28. Arthur Maynwaring, Esq.
15. Mr. Locke (with his letters and 29. Walter Moule, Esq.
memoirs). 30. Wm. King, LL.D.
31. Mr. Manley (Author of the
‘Atlantis’).”
Indeed, Curll seems to have had an itching hand for seizing on
everybody’s will; for, among other of the singular productions he put before
the public, is a satirical work called “Pylades and Corinna: Memoirs of the
Lives, Letters, and Adventures of two Lovers, Richard Grinnett, Esq., of
Great Shurdington in Gloucestershire, and Mrs. Elizabeth Thomas Jenner of
Great Russell Street, Bloomsbury, together with all the Incidents of their
Sixteen Years’ Courtship, and two complete Copies of their last Wills and
Testaments;” and yet more extraordinary, he invented a will for the Evil
One, which he styled: “Satan turned Moralist; or, The Devil’s last Will and
Testament. Price 1s.” A copy of this rare book, worthless though it may be
as far as it might afford entertainment to any reader of the present day,
would, we fancy, command a good many shillings now.
 Of these, fifteen are still extant, and in the library of the British Museum,
viz.: those numbered, in our list of Curll’s publications, respectively 2, 4, 9,
10, 12, 13, 14, 15, 18, 21, 22, 23, 25, 26, 29; but it is no easy task to find
them, even in the Catalogue.

A Weird Custom
In one of Balzac’s best novels, “The Country Doctor,” he tells of a
strange custom which prevails in some of the mountainous districts of
France. It will be recalled that the Country Doctor leaves Paris and takes up
his abode in a remote country district, the purpose being to make amends
for a life which at the outset had not been blameless and had brought about
remorse and contrition. He devotes a long and useful life to the
unsophisticated country people among whom he locates.
The custom referred to is that upon the death of a husband the neighbors
surround the bier and at intervals wail, “The master is gone! The master is
gone! The master is gone!” The widow with her own hands cuts off her hair
and places it in the hands of the corpse, as an evidence of devotion and
constancy.

To the Devil
There is perhaps no sentiment, grateful or spiteful, or any phase of
humor, good or bad, which has not been illustrated in testamentary
documents.
Probably the legatee who stood the least chance of realizing was the
Devil; an attempt was made to make him a land owner in Finland: a few
years ago, a queer old native of that country devised all his property to the
Devil without attempting to establish the identity of the devisee. The
Devil’s claim was disregarded and the property went to the heirs of the
testator. It was suggested by one writer that doubtless the testator desired to
make a good impression on his Satanic Majesty with a view to conciliating
him; another writer suggests that even the name of the Devil in a will is
better than none, such omissions being frequently found in wills.

Devise to an Idol
Within recent years, the Judiciary Committee of the Privy Council of
Great Britain was called upon to pass on the validity of a testamentary
devise made four hundred years prior to that time by a resident of India,
conveying by will certain lands to the use of an idol, and, strange to say,
this gift was sustained.
Mr. Justice Riddell, of the Supreme Court of Canada, recently called
attention to this remarkable devise, in an address before the State Bar
Association of Missouri.
It appears that one of the descendants of the original testator, after the
lapse of four centuries, by a subsequent will, attempted to devise the same
property which was formerly conveyed to the use of the idol. The Privy
Council upheld the original gift, and the lands are still devoted to the use of
the idol.

The Lost Dauphin

It is said the Duchesse d’Angoulême, sister of the “Lost Dauphin,” was a
cold-hearted woman who preferred the prospect of a throne to the calls of
family affection. She died childless and in exile at Prague in 1845.
There is a story that on her deathbed she called to her side General la
Rochejacquelein and whispered:
“General, I have a fact, a very solemn fact, to reveal to you. It is the
testament of a dying woman. My brother is not dead; it has been the
nightmare of my life. Promise me to take the necessary steps to trace him.
France will not be happy nor at peace till he is on the throne of his fathers.”
The story is probably apocryphal; if true, it is a pity that the dying
duchess left no documentary proof of her belief, even though it involved the
awful confession that it was her selfishness that had cheated her brother out
of a throne and rendered him a nameless outcast.

George Sand’s Curiosity

George Sand married in early life a coarse type of man, Casimir
Dudevant. Their union was not a happy one. It happened that she found a
packet in her husband’s desk, marked, “Not to be opened until after my
death.” She wrote of this in her correspondence:
“I had not the patience to wait till widowhood. No one can be sure of
surviving anybody. I assumed that my husband had died, and I was very
glad to learn what he thought of me while he was alive. Since the package
was addressed to me, it was not dishonorable for me to open it.”
And so she opened it. It proved to be his will, but containing, as a
preamble, his curses on her, expressions of contempt, and all the vulgar
outpouring of an evil temper and angry passion. At once she formed the
great decision of her life.
She went to her husband as he was opening a bottle, and flung the
document upon the table. He cowered at her glance, at her firmness, and at
her cold hatred. He grumbled and argued and entreated; but all that his wife
would say in answer was:
“I must have an allowance. I am going to Paris, and my children are to
remain here at Nohant.”
She went into the Latin Quarter, and not only Paris but the world heard
much of her. She wrote, “The proprieties are the guiding principle of people
without soul or virtue,” and, as is well known, her life was in accord with
this sentiment.

Charles Dickens on Elderly Testators

When Dickens came to America in 1842, he visited the charitable
institutions of Boston, Massachusetts, and of them wrote in his “American
Notes”: “I sincerely believe that the Public Institutions and Charities of
Boston are as nearly perfect, as the most considerate wisdom, benevolence,
and humanity can make them. I never in my life was more affected by the
contemplation of happiness, under circumstances of privation and
bereavements, than in my visits to these establishments.”
In this connection he writes of the creation of such institutions through
wills:
“The maxim that ‘out of evil cometh good,’ is strongly illustrated by
these establishments at home; as the records of the Prerogative Office in
Doctors’ Commons can abundantly prove. Some immensely rich old
gentleman or lady, surrounded by needy relatives, makes, upon a low
average, a will a-week. The old gentleman or lady, never very remarkable in
the best of times for good temper, is full of aches and pains from head to
foot; full of fancies and caprices; full of spleen, distrust, suspicion, and
dislike. To cancel old wills, and invent new ones, is at last the sole business
of such a testator’s existence; and relations and friends (some of whom have
been bred up distinctly to inherit a large share of the property and have
been, from their cradles, especially disqualified from devoting themselves
to any useful pursuit, on that account) are so often and so unexpectedly and
summarily cut off, and reinstated, and cut off again, that the whole family,
down to the remotest cousin, is kept in a perpetual fever. At length it
becomes plain that the old lady or gentleman has not long to live; and the
plainer this becomes, the more clearly the old lady or gentleman perceives
that everybody is in a conspiracy against their poor old dying relative;
wherefore the old lady or gentleman makes another last will—positively the
last this time—conceals the same in a china teapot, and expires next day.
Then it turns out, that the whole of the real and personal estate is divided
between half-a-dozen charities; and that the dead and gone testator has in
pure spite helped to do a great deal of good at the cost of an immense
amount of evil passion and misery.”

The Cloak and Earring of Charles I.

On the morning of January 30th, 1649, Charles I. rose early and for
some time remained in prayer and meditation; he was then taken to
Whitehall for execution, accompanied by his faithful Confessor, William
Juxon, Bishop of London. On the scaffold with him were Colonel Hacker,
another officer, and two men disguised with masks; though heard by few,
the King addressed the vast crowd in the following words: “For the people,
truly, I desire their liberty and freedom as much as any body whosoever, but
I must tell you that their liberty and their freedom consists in having of
government those laws by which their life and their goods may be most
their own. It is not for having share in Government, Sirs; that is nothing
pertaining to them; a subject and a sovereign are clean different things, and
therefore until you do that, I mean that you do put the people in that liberty
as I say, certainly they will never enjoy themselves.”
He made a last profession of faith and gathered his hair under his cap;
then took off his cloak and George and gave them to Bishop Juxon with one
word, “Remember.” He then took from his left ear a large pearl earring and
formally bequeathed it to one of his faithful followers; it is still preserved
and is now owned by the Duke of Portland. It is pear-shaped, about five-
eighths of an inch long and mounted with a gold top, and has a hook to pass
through the ear. He then laid himself down on the block, breathed a short
prayer, and stretched forth his hands, the appointed signal for the
executioner, who performed his duty well, for the head of the King was
severed by one blow and it was held up to the view of the crowd, which
answered with a fearful groan.
Masculine earrings were formerly quite common: Sir Walter Raleigh
wore one, and so did Horace Walpole, and the Earl of Southampton;
Shakespeare indulged the same taste. In modern times such male finery has
been largely relegated to sailors, gypsies and negroes.

Exhortation to Condemned Prisoners

Robert Dowe of St. Sepulchre, London, in his lifetime, on the 8th of
May, 1705, gave £50 to the end that the vicar and church-wardens of that
parish should, forever, previously to every execution at Newgate, cause a
bell to be tolled, and certain words to be delivered to the prisoners ordered
for execution, in the form and manner specified in the terms of his gift, as
set forth in the old will book.
An annual sum of £1 6s. 8d. in respect of this gift was charged upon the
parish estate in West Smithfield; it was paid to the sexton, who employed a
person to go to Newgate on the night previous to every execution, where he
offered to perform the prescribed duty, which was always declined, as all
needful services of that kind were performed within the prison.
Noorthouck, in his History of London, gives the words of the
exhortation. He states that the sexton “comes at midnight, and after tolling
his bell calls aloud,
 ‘You prisoners that are within,
Who for wickedness and sin,

after many mercies shewn you, are now appointed to die to-morrow in the
forenoon, give ear and understand, that to-morrow morning the greatest bell
of St. Sepulchre’s shall toll for you in form of and manner of a passing bell,
as is used to be tolled for those that are at the point of death; to the end that
all godly people hearing that bell, and knowing it is for you going to your
deaths, may be stirred up heartily to pray to God to bestow his grace and
mercy upon you whilst you live. I beseech you for Jesus Christ’s sake to
keep this night in watching and prayer, to the salvation of your own souls,
while there is yet time and place for mercy; as knowing to-morrow you
must appear before the judgment seat of your Creator, there to give an
account of things done in this life, and to suffer eternal torments for your
sins committed against Him, unless upon your hearty and unfeigned
repentance you find mercy through the merits, death, and passion of your
only mediator and advocate Jesus Christ, who now sits at the right hand of
God to make intercession for as many of you as penitently return to him.’
“On the morning of execution, as the condemned criminals pass by St.
Sepulchre’s churchyard to Tyburn, he tolls his bell again and the cart
stopping, he adds, ‘All good people pray heartily unto God for these poor
sinners, who are now going to their death, for whom this great bell doth toll.
You that are condemned to die, repent with lamentable tears; ask mercy of
the Lord for the salvation of your own souls, through the merits, death, and
passion of Jesus Christ, who now sits at the right hand of God, to make
intercession for as many of you as penitently return unto Him.

‘Lord have mercy upon you!

Christ have mercy upon you!
Lord have mercy upon you!
Christ have mercy upon you!’ ”

The Pardoned Poet’s Farewell

“John Carter,” the convict whose poems brought him pardon, did not
leave his Minnesota prison without a farewell message to his friends within
its walls. This “last will and testament” was first printed in the weekly
Prison Mirror, published in the penitentiary. The St. Paul Dispatch quotes it
as follows:
“This is the last will and testament of me, Anglicus. I hereby give and
bequeath my collection of books (amounting to some 6000 volumes) to Mr.
Van D., in memory of the not altogether unpleasant hours we spent together,
hours marked by no shadow of animosity at any time. We could not be
happy, but we were as happy as we could be. To Dr. Van D. I leave my
mantle of originality, and what remains of the veuve cliquot, in memory of
encouragement when I most needed it.
“To the editor I leave my space on this journal and the best of good
wishes in memory of his unfailing courtesy and forbearance.
“To Uncle John and to Sinbad go my heartiest wishes that we may meet
soon in some brighter clime.
“To Mr. Helgrams, my best dhudeen and the light of hope.
“To young Steady and to Mr. D. M., my poetic laurels, which they are to
share in equal measure.
“To the boys in the printing-office, the consolation of not being obliged
to set up my excruciating copy.
“To the tailors (and to the boss tailor in particular, ‘Little Italy,’) my very
best pair of pants.
“To Jim of the laundry,—but nothing seems good enough for Jim, the
best soul that ever walked.
“To Portfiro Alexio Gonzolio, a grip of the hand.
“To Davie, pie, pie again, and yet more pie.
“To the band boys—why, here’s to ’em! May they blow loose.
“To my fellow pedagogues, ‘More light,’ as Goethe put it, more
fellowship; it would be impossible to wise them. They know where I stand
and I know where they stand.
“Lawdy! lawdy! If I hadn’t forgotten Otto and his assistant. Here’s all
kinds of luck to ’em, and no mistake about it.
“Finally to all those not included hereinbefore (for various reasons),
here’s to our next merry meeting. To those in authority, thanks for a square
deal. To mine enemy—but I mustn’t bulcon him.
“Gentlemen, I go, but I leave, I hope I leave my reputation behind me.
 “Anglicus.”

Probates his Own Will

Judge R. B. Tappan, of Alameda, California, in July, 1910, practically
probated his own will. He filed in the Recorder’s Office, of Alameda
County, a document which makes the Alameda Lodge of Elks his
beneficiary. He provides that if he dies or becomes insane his property is to
go to the Elks. Throughout the legal phraseology of the instrument Judge
Tappan has made many unique observations, among which he states that he
trusts that no one will inspect him too closely for signs of dementia. He
says:
“I hope that such things as leading a horse over a hill while I am hatless
and coatless and wearing a bandana handkerchief over my head or wearing
moccasins in the city will not be considered evidence of insanity sufficient
to revoke the terms of this trust.”
On Judge Tappan’s death he directs that such property as he has
transferred to the trust shall immediately be put to the uses of the Elks lodge
after paying his funeral expenses, which, he says, should not be over $75.
He remarks in the document that he has already paid $10 for a redwood box
to convey his remains to the crematory. In regard to the document, Judge
Tappan said:
“I have the consent of the directors of my lodge of Elks to keep for me in
their possession during my life my property now in their possession, and
any property which I may place in their custody hereafter will be similarly
held. I have made provisions in the declaration which will pass the trust
fund to the Elks lodge in the event of my death or in the event of my
becoming insane. The question of insanity is left to the officers of my
lodge. There may arise an occasion where some meddlesome person or
persons would lodge a contest, and perhaps my wishes concerning the
disposition of what belongs to R. B. Tappan would not be complied with. I
have a right to do what I see fit with what is mine without consulting any
one else, and it is a great satisfaction to me to-day to know just where my
property will go in the event of the happening of either one of the
conditions referred to. This proposition involves a large sum of money and
securities which are as good as gold coin, and the matter is no joke. The
officers realize this, or else they would not have accepted the trust. I never
speculate or gamble in any form; hence my trust is not likely to shrink
much.”

Trust Companies as Executors

The Trust Companies of the United States and other countries have, in
recent years, proved themselves the best mediums for administering wills;
such an institution located in Melbourne, Australia, in pointing out its
merits and stability, quite uniquely, we think, quoted Tennyson’s lines:

“ ... Men may come,

And men may go,
But I go on for ever.”
 CHAPTER VI

WILLS OF FAMOUS FOREIGNERS

“Farewell! a long farewell, to all my greatness!”

Will of the Marquis d’Aligre

Before quoting the will of the Marquis d’Aligre, we will recall a little
incident of his life, which, though it serves to show his character, does not
prepare us for the various phases of his shrewd and humorous mind.
One day the marquis went to pay a visit to the Duc de X., one of his
friends, a man of scrupulous propriety and a great stickler for etiquette.
Hardly had he taken leave, after an hour’s chat, before the duke perceived
on the mantelpiece a pair of brown gloves; he looked at them and then drew
back with horror; these gloves of an indescribable hue had evidently once
been white! and it was actual wear that had tinted them. The tips of the
fingers were twisted about and stiff, and the gaping buttonholes testified to
their protracted and loyal service. No housemaid would have worn them to
clean her stoves.
The duke took his tongs, seized the gloves, and laying them on a folded
newspaper, rolled them up with precaution, and having written on a slip of
paper, “Gloves belonging to a great nobleman, one of the largest
landowners in France,” he fixed it with a pin to this singular parcel. Not
many minutes later arrives the valet of the marquis, who, presenting himself
before the duke, begs to know, not without some embarrassment, and
blushing up to his ears, whether his master had not forgotten his gloves.
Needless to say they were forthwith handed to him.
We now proceed to the will of this gentleman, of which we propose to
transcribe the most remarkable clauses, which, however, we must remark,
seem to have been penned in a spirit of justice.
“Art. IV.—I leave to M. de Boissey, my blessing, to compensate him for
the curses which M. Pasquier heaped upon him every day. May it be of use
to him on the judgment-day.”
“Art. VII.—I withdraw from M. A ..., and M ... x the sums I had left
them by a former will; they have so often proclaimed that I am a man who
would cut a farthing in four, that I would on no account oblige them to
change their opinion.”
“Art. IX.—I advise Madame de Pomereu, or those she may authorize, to
pay to the charcutiers of Paris the sum of 10,000 francs in remembrance of
their predecessors, who before the Revolution dealt for their ham and other
smoked meats at the Hôtel d’Aligre, Rue St. Honoré.
“Art. X.—I leave 20,000 francs a-year to the invalide who, being on
guard on the Pont des Arts in 1839, and, judging from the shabbiness of my
dress that I was in distress, paid for me the five centimes toll.”
“Art. XIII.—Considering that virtue ought to be encouraged, I
consecrate 100,000 francs yearly to the formation of fifty dowries of 2000
francs in favour of fifty Rosières. The Mayor of Nanterre, who finds these
maidens every year, will be good enough to undertake the distribution. If by
chance his commune should not furnish him the necessary contingent, he is
authorized to address himself to the Gymnase Theatre.
“Art. XIV.—I leave 200,000 francs a-year to the ‘Phalansterians’; but
they are only to receive this sum on the day on which they shall have
transformed the ocean into orangeade, and gratified mankind with that
appendage he needs to make him equal to the gibbon.”
“Art. XVI.—Taking compassion on the poor of the first arrondissement,
I desire that the value of the cereals harvested on my land at the next
harvest shall be distributed to them in its entirety.
“Art. XX.—Finally, I leave to my relatives, oblivion; to my friends,
ingratitude; to God, my soul. As for my body, it belongs to my family
vault.”
The brother of the testator was put into the will for a legacy so absurdly
disproportionate to what he considered he had a right to expect that the
following not very maturely considered observation thereon appeared in a
newspaper of the date (1847):
“The celebrated Crœsus who has just died has revealed in his will certain
little peculiarities of which few suspected him. He was a great protector of
rats; and on the day but one before that of his death he was at the races with
four of these animals in his calêche. He had a brother who gave him very
good advice on this subject, like the Cléante of ‘Tartuffe,’ to whom he
replied by a little posthumous epigram, indicative of his churlish
disposition; he has left him, out of his large fortune, a dole of 20,000 francs
per annum. There is no revenge so hard and bitter as that of an old man.
There are, we venture to think, many brothers, all the same, who would be
very glad of a fraternal legacy of eight hundred a-year, and, moreover, we
know nothing of the provocation that may have been given; like Lord
Campbell, ‘we should like to hear the dog’s story.’ ”
Possibly the old Marquis felt the separation he contemplated between
himself and the fortune he had amassed, but if he entertained any malicious
sentiments against those to whom he was obliged to leave what he could not
take away with him, he seems to have been fully justified in the somewhat
severe animadversions he has passed on some of his legatees.
To a lady relative, who had been full of attentions for him, he left a
broken cup, jeering her with the taunt that while she thought she was taking
him in he was laughing in his sleeve at the grimace she would make when
she found that it was he who had got all her little gifts, her smiles and
favors out of her, knowing all the while that he had no intention of repaying
them as she expected.
“As for you,” he says at the end of the will, “you, my good and
admirable valet, who have so long taken me for your dupe, you will now
learn that it is you who have been mine; when at the conclusion of my
dinner you thought I was applauding your economy and your zeal, in
carefully putting together the remains of bottles of wine and keeping them
for the next meal, it never occurred to you that I was well aware you took
for your own use whole bottles. When you came with tearful eyes and
coaxing voice to wait on me the moment I was suffering from any trifling
indisposition, presenting to me my tisanes with an assumed air of
condolence and anxiety, you little thought how my instinct, following you
into the servants’ hall, guessed the language in which you expressed
yourself there. ‘The old fellow,’ you used to say, ‘can’t last much longer,
and then I shall come in for my hard-earned legacy.’
“Well, my dear fellow, I am sorry to tell you this was all a mistake, and
you have got to learn that masters are not always so much stupider as you
suppose than their servants.
 “As for you, my relatives, who have been so long spelling upon this
fortune, on which ‘I had concentrated all my affections,’ you are not going
to touch a penny of it, and not one of you will be able to boast that you have
squandered the millions which the old Marquis d’Aligre had taken so many
years to hoard up.”

Cardinal Antonelli’s Will

The great wealth Cardinal Antonelli, who died in 1876, is reported to
have left, has aroused special interest with regard to his will, and given rise
to endless gossip, not only as to its contents, but concerning the document
itself. At first it was reported that it could not be found; then, that it had
disappeared in some remarkable manner; that it had been purposely
destroyed; that the cardinal had made no will; and many other canards were
circulated. Later, however, the Libertà announced that it was in the hands of
the public notary in the Piazza San Claudio, where it could be seen, but that
only those having a direct interest in its contents could be permitted to
examine it. Subsequently the Popolo Romano published the document in
extenso, together with the notary’s statement concerning it, as follows:

“REPERTORY NO. 187

“Reigning His Majesty Victor Emmanuel II., by the grace of God and the
will of the nation, King of Italy.
“I, the undersigned, public notary, certify that among my acts under the
hereafter-inscribed day is to be found the registered report of the deposit of
the holograph testament of the defunct Most Eminent Cardinal Giacomo
Antonelli, made at the instance of the illustrious advocate, Signor Antonio
Bachetoni, to the following effect:
“The year one thousand eight hundred and seventy-six on Thursday, the
twenty-third day of the month of November, in Rome. Before me, Scipione
Vici, public notary, having my office upon the Piazza San Claudio, No. 93,
and inscribed in the Council of Notaries of the district of the Collegio di
Roma, assisted by the undersigned witnesses, qualified according to law,
and in the presence of the illustrious advocate Signor Enrico Simonetti,
Prætor of my mandament, duly executed at his residence, situated in Via
Gesù e Maria, No. 28, and of the Signori Jacopini Torollo, son of the late
Giovanni Batta, of Arcidosso, in the Province of Grosseto, domiciled Via
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