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“Yes,” he replied, “cases have been known.”

“Don’t you do anything for it?” I enquired.

“Oh, yes,” he answered, “we haul them out again.”

“But what I mean is,” I explained, “don’t you do anything to prevent their falling in–to save them from falling in again?”

“Yes,” he answered, “we spank ’em.”

There is always a wind in Holland; it comes from over the sea. There is nothing to stay its progress. It leaps the low dykes and sweeps with a shriek across the sad, soft dunes, and thinks it is going to have a good time and play havoc in the land. But the Dutchman laughs behind his great pipe as it comes to him shouting and roaring. “Welcome, my hearty, welcome,” he chuckles, “come blustering and bragging; the bigger you are the better I like you.” And when it is once in the land, behind the long, straight dykes, behind the waving line of sandy dunes, he seizes hold of it, and will not let it go till it has done its tale of work.

The wind is the Dutchman’s; servant before he lets it loose again it has turned ten thousand mills, has pumped the water and sawn the wood, has lighted the town and worked the loom, and forged the iron, and driven the great, slow, silent wherry, and played with the children in the garden. It is a sober wind when it gets back to sea, worn and weary, leaving the Dutchman laughing behind his everlasting pipe. There are canals in Holland down which you pass as though a field of wind-blown corn; a soft, low, rustling murmur ever in your ears. It is the ceaseless whirl of the great mill sails. Far out at sea the winds are as foolish savages, fighting, shrieking, tearing– purposeless. Here, in the street of mills, it is a civilized wind, crooning softly while it labours.

What charms one in Holland is the neatness and cleanliness of all about one. Maybe to the Dutchman there are drawbacks. In a Dutch household life must be one long spring-cleaning. No milk-pail is considered fit that cannot just as well be used for a looking-glass. The great brass pans, hanging under the pent house roof outside the cottage door, flash like burnished gold. You could eat your dinner off the red-tiled floor, but that the deal table, scrubbed to the colour of cream cheese, is more convenient. By each threshold stands a row of empty sabots, and woe-betide the Dutchman who would dream of crossing it in anything but his stockinged feet.

There is a fashion in sabots. Every spring they are freshly painted. One district fancies an orange yellow, another a red, a third white, suggesting purity and innocence. Members of the Smart Set indulge in ornamentation; a frieze in pink, a star upon the toe. Walking in sabots is not as easy as it looks. Attempting to run in sabots I do not recommend to the beginner.

“How do you run in sabots?” I asked a Dutchman once. I had been experimenting, and had hurt myself.

“We don’t run,” answered the Dutchman.

And observation has proved to me he was right. The Dutch boy, when he runs, puts them for preference on his hands, and hits other Dutch boys over the head with them as he passes.

The roads in Holland, straight and level, and shaded all the way with trees, look, from the railway-carriage window, as if they would be good for cycling; but this is a delusion. I crossed in the boat from Harwich once, with a well-known black and white artist, and an equally well-known and highly respected humorist. They had their bicycles with them, intending to tour Holland. I met them a fortnight later in Delft, or, rather, I met their remains. I was horrified at first. I thought it was drink. They could not stand still, they could not sit still, they trembled and shook in every limb, their teeth chattered when they tried to talk. The humorist hadn’t a joke left in him. The artist could not have drawn his own salary; he would have dropped it on the way to his pocket. The Dutch roads are paved their entire length with cobbles–big, round cobbles, over which your bicycle leaps and springs and plunges.