3 10 64 https://omekaclassic1.nhlibraries.org/files/original/e725fe57f8c302bca485fc5f9c07f13e.jpg 3be3a3cf1cf97a0ececd108944dcd74d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. 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Publisher An entity responsible for making the resource available New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile024 Creator An entity primarily responsible for making the resource New Hampshire State Library Title A name given to the resource Bookmobile at a House Description An account of the resource The New Hampshire State Library's Bookmobile Date A point or period of time associated with an event in the lifecycle of the resource 1940-1949 Type The nature or genre of the resource StillImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Hampshire Rights Information about rights held in and over the resource Copyright Undetermined Contributor An entity responsible for making contributions to the resource New Hampshire State Library Language A language of the resource eng Subject The topic of the resource New Hampshire Bookmobile New Hampshire State Library Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. 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Publisher An entity responsible for making the resource available New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile024 Creator An entity primarily responsible for making the resource New Hampshire State Library Title A name given to the resource Bookmobile at a House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. New Hampshire Publisher An entity responsible for making the resource available New Hampshire State Library Rights Information about rights held in and over the resource Copyright Undetermined Subject The topic of the resource New Hampshire Bookmobile New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile000 Type The nature or genre of the resource Black and white photographs Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Publisher An entity responsible for making the resource available New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile024 Creator An entity primarily responsible for making the resource New Hampshire State Library Title A name given to the resource Bookmobile at a House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. New Hampshire Publisher An entity responsible for making the resource available New Hampshire State Library Rights Information about rights held in and over the resource Copyright Undetermined Subject The topic of the resource New Hampshire Bookmobile New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile000 Type The nature or genre of the resource Black and white photographs Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Publisher An entity responsible for making the resource available New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile024 Creator An entity primarily responsible for making the resource New Hampshire State Library Title A name given to the resource Bookmobile at a House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmobile Photos Creator An entity primarily responsible for making the resource New Hampshire State Library Contributor An entity responsible for making contributions to the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1940-1950 Description An account of the resource The New Hampshire State Library's bookmobile and rural areas of the state. Format The file format, physical medium, or dimensions of the resource StillImages Language A language of the resource eng Spatial Coverage Spatial characteristics of the resource. New Hampshire Publisher An entity responsible for making the resource available New Hampshire State Library Rights Information about rights held in and over the resource Copyright Undetermined Subject The topic of the resource New Hampshire Bookmobile New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile000 Type The nature or genre of the resource Black and white photographs Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Publisher An entity responsible for making the resource available New Hampshire State Library Identifier An unambiguous reference to the resource within a given context NHSLBookmobile024 Creator An entity primarily responsible for making the resource New Hampshire State Library Title A name given to the resource Bookmobile at a House https://omekaclassic1.nhlibraries.org/files/original/c74a96ad1b6a2d94bba1090fd1861afa.jpg 5d9e0bdc4ac846fe49058a5c45a7fa45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Hampshire State Library Creator An entity primarily responsible for making the resource New Hampshire State Library Format The file format, physical medium, or dimensions of the resource Photographs Language A language of the resource eng Subject The topic of the resource New Hampshire State Library Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Hampshire State Library Bookmobile, Concord, New Hampshire, 1970 Creator An entity primarily responsible for making the resource New Hampshire State Library Date A point or period of time associated with an event in the lifecycle of the resource 1970-03 Description An account of the resource Richard Parent, Concord District Consultant and Fred Carlson, Bookmobile Supervisor, beside new bookmobile. Photo taken March, 1970. Language A language of the resource eng Publisher An entity responsible for making the resource available New Hampshire State Library Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource New Hampshire State Library Bookmobile Identifier An unambiguous reference to the resource within a given context NHSLBookmobile1970 Type The nature or genre of the resource StillImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Concord, New Hampshire https://omekaclassic1.nhlibraries.org/files/original/d3098726e59c788775990e827b8690fe.pdf 84d63d1d43f02565b07a76660854b5e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The New Hampshire Troubadour Subject The topic of the resource Troubadour Description An account of the resource The New Hampshire Troubadour was a publication of the State of New Hampshire's State Planning and Development Commission in Concord, NH from 1931-1950s. Creator An entity primarily responsible for making the resource The State of New Hampshire Publisher An entity responsible for making the resource available The State of New Hampshire Date A point or period of time associated with an event in the lifecycle of the resource 1930s-1950s Contributor An entity responsible for making contributions to the resource NHSL Rights Information about rights held in and over the resource State of New Hampshire Troubadour PDF files of the Troubadour OCR OCR of the Troubadour The The New Hampshire Troubadour GOMES TO YOU EVERY MONTH SINGING THE PRAISES OF NEW HAMPSHIRE, A STATE WHOSE BEAUTY AND OPPORTUNITIES SHOULD TEMPT YOU TO GOME AND SHARE THOSE GOOD THINGS THAT MAKE LIFE HERE SO DELIGHTFUL. IT IS SENT TO YOU BY THE STATE PLANNING AND DEVELOPMENT COMMISSION AT CONCORD, NEW HAMPSHIRE. FIFTY CENTS A YEAR ANDREW McC. HEATH, Editor
VOLUME XVIII August, 1948 NUMBER 5 BRIDGEWATER AND OLD HOME DAY bu f\ev. (charted \AJ, ^T, ^mitk Halfway between Nashua and Lancaster, between the Connecticut River and the border of Maine, Bridgewater might claim to be the geographical center of New Hampshire. The town now reaches from the Pemigewasset River to Newfound Lake, and the two main roads which skirt its edges are well known highways to the White Mountains. Between these lower levels at about 600 feet it humps up to an elevation of over 1900 feet at Peaked Hill. From the private lodge at this point all the most spectacular features of the State, lakes, mountains, and rivers, can be seen in one panorama. From many another point on the necessarily steep roads inspiring views can be caught — and houses are placed to catch them: Cardigan seen across Newfound Lake; big and little Squam with the Sandwich range across the river valley; Franconia Notch beyond the foothills. The prospects nourish without intimidating the human spirit. New Hampshire Troubadour 3 Just as its roads go quickly up and down, so has its population. Bridgewater history is typical of many a New Hampshire hill section. From proprietary land to pioneer settlement, from frontier conditions to self-sufficiency, from subsistence farming to losing competition with new, easier land and industry, from near-abandonment to restoration the course has run in the space of 182 years. It grew more rapidly than it declined, its peak at a population of over 1,000 in 1810. Now there are more cellar-holes than residents, but there are also ties which cannot be broken even if the outward symbol of roof and walls which fashioned them are sometimes gone. Square dancing at Peterborough. Square dancing for some time has been enjoying a great revival in popularity. Dances are being held regularly this summer at a number of hotels and recreation centers. ERIC M. SANFORD Bridgewater was once a part of the Masonian grant known as New Chester and embraced also what is now known as Hill and Bristol. A syndicate acquired it in 1753. It was not surveyed until 1765. The next year the first settler arrived in the person of Thomas Crawford. He built a log cabin on Bridgewater Hill not far from the present Sherman Fletcher house on the Town House road. In 1770 the first frame dwelling was put up by John Mitchell and his wife and it is still standing, used as our country home, after 175 years' occupation by one family. Bridgewater has its share of Colonial architectural features, for the people had an eye for simple grace and the beauty of proportion. Nearer the top of the hill the town center developed with its old cemetery and its houses grouped about the Town House. While the population flourished this served as a meeting place and church, its use by several denominations on a monthly schedule exhibiting a practical form of church unity. It was one of the oldtime two-story buildings of unusual architectural interest, but was reduced to its present form in 1881 to save necessary repairs. Here, and in the grove about it, for the last fifty years Old Home Day has been regularly observed. When Governor Rollins first suggested the custom be inaugurated, the residents lost no time in introducing it to "the Hill." The old families of Bridgewater lived, and lived deeply in human values, longer on their places than most people live in contemporary homes. Not a few still hold the same land and live seasonally if not completely in the same houses. Many of the summer residents have been there longer than most people today stay in one place. The old residents made their contributions far and wide, and still do, carrying out into the world something which Bridgewater gave. They come back to the land and the air and the outlook which nourished them. Where the families are gone, the names usually still linger, and some of the original homes stand substantially unchanged. Name, place, and people are often re- New Hampshire Troubadour 5 Sailboat Regatta on Lake Massabesic, Manchester. ERIC M. SANFORD united on Old Home Day. And they graciously welcome those of us who reverse the process and bring whatever name we have elsewhere to the seclusion of this hilly haven to acquire something which was their birthright. There are factors to be recalled and still inherent in the soil of the hill farms which should not be forgotten or ignored if America is to retain its health and freedom. The older residents come back to them; the newer residents seek them; the place makes old and new one. This year, Old Home Week will be a gala one, the fiftieth without break. No doubt there will be a parade, notable speakers, the older places open to old neighbors, much reminiscence; there will be the traditional church service, baked-bean lunch, handcraft sale, poem written for the occasion, business meeting, and dance. Half a century should establish a custom and ensure that its values will not be discarded. Elsewhere the same will be true; the same sort of history, the same sort of people, the same nostalgia. The hills call and the lakes echo, "Come home!" Editor's Note — Bridgewater's Old Home Day this year is to be August 26. 6 The August 1948 MOUNT WASHINGTON VACATION WEATHER IT IS NORMALLY GOOD AND YOU CAN PICK IT TO BE BETTER bu ~J\en Ljoula Former Official in Charge Mount Washington Observatory. Regardless of looking for perfect conditions the average fair weather mountain day in July and August is good. If on top for the sunrise you may expect a temperature above 40 which will climb to near 60 by mid-afternoon. The wind will keep you comfortably cool averaging about 25 mph. and the sun will pour down through the dust-free (and usually haze-free) air in abundance. If climbing, you can expect a cooling breeze at timberline. If riding up, you will want to put on a sweater when you alight from the train at the Gulf Tanks or on the top. Such exhilarating conditions will make you glad to be out of the heat of the city and really glad to be alive. If a cloud brushes by, reach out and touch it. You may never have such a chance again unless you become airborne, and the thrill of doing it with your feet on solid ground is not to be compared. But despite such attractive interests you most of all came up to this highest point in the north-east to look into five states and Canada, see the Atlantic ocean and Winnipe-saukee, and, by being in the center of it, feel almost a part of that mighty sweep of the Presidential range of the White Mountains. By following the methods given below, you can be sure of enjoying these experiences. You can pick the day when Mt. Washington weather will be good. "It was so fine when we started up . . . but look at it now.,: A visitor to the summit, now thoroughly cloud-doused, is mouthing a time-worn phrase to the weatherman in the Mt. Washington New Hampshire Troubadour 7 Observatory. Outside the fog-smeared thick-glassed windows the air is filled with the wet cloud droplets; so complete is the obscurement that nearby buildings appear only as darker portions of the gray mass; the tremendous view is completely blotted out. The summit is in the middle of a cloud and anyone who enjoys the scenery in one is happy with but little . . . and that little is also very wet. The visitor, rightly, feels cheated. Why does this happen . . . and why should it happen to you? Does the great God of the sky . . . the keeper of the stars and the clouds . . . resent man's intrusion into his lofty domain. The answer is that he does not. However, through very interesting stories and legends, the mountain has been built into a creator of storms; a brewer of the raw elements that split the air with stabbing lightning, ripping winds, and lashing rain. This picture befits such an East Coast giant as Mt. Washington but it does not fit after scientific inspection. The mountain does not breed weather, it merely intensifies it. To have clouds or a storm you must first have moist air, then this air must be lifted to the condensation level. Mt. Washington cannot create moist air but it does Create a lifting when air Fishing Profile Lake, Franconia Notch. Eag 8 The August 1948 WINSTON POTE Eagle Cliff on Mt. Lafayette in background. moving along its base is deflected up its sides. This lifting causes expansion with resulting cooling and, with sufficient moisture, . . . condensation. Thus a cioud is formed on the summit. Rain, snow or a thunderstorm may emerge from such a cloud. However none of these occurs with any intensity unless the cloud is a very thick one. Under normal conditions it just sits on the top of the mountain, getting everything very wet, blotting out the view, and making you feel very cheated . . . that is, unless you pick your day. How does one pick Mt. Washington vacation weather? First of all follow the forecast via newspaper and radio. It usually will not specifically apply to the mountains but it will be an indication. If there is a chance of a storm in the lowlands it will be in general more intense on the mountain. However, if you are in the vicinity of the mountain check with the Mt. Washington Observatory which distributes specific mountain forecasts. These may also be obtained from the Weather Bureau in East Boston; from Joseph Crepeau, airways observer at Fabyans; and from Joe Dodge at the AMC camps in Pinkham Notch. They can tell you what it will be "up-top." New Hampshire Troubadour Then last, but by far not the least effective method, observe conditions yourself. If the day is clear, or if there are only some high clouds at home, with but little wind, and a storm has not just passed, your chances of a favorable day on the summit are good. Pile into the car and head for the peaks. As you near the mountains look for the appearance of those big, white, flat base (cumulus) clouds. If they are increasing rapidly plan a day around the base of the mountain, for the summit is likely to be enshrouded before noon. This need not spoil your trip, for hiking, looking, or sunning on the lower elevations is a joy and usually it is safe to plan a sunset trip to the top, for by then the summit should be clear. Thus most every "fair forecast" day will give you usable mountain weather. For a perfect mountain day, however, look for the arrival of a strong high pressure area with its clear, dry, polar air. The radio or newspapers again will shout its arrival and you will recognize it from the bright blue, cloudless sky, good visibility, crispness of the air and deep blue look of the mountains. If you have a barometer it will merely confirm these conditions by being high and rising. When you see it, set off for the summit assured that you will have no finer weather in the mountains. PAUL SAMPLE bu L^Uzabetk l/l/l. S^wiitk For those who have summered in rural New Hampshire, or enjoyed winter sports in the New Hampshire hills, or motored along the backroads and byways through the farmland and villages off the beaten track, the paintings of Paul Sample are an everlasting source of pleasant memories. If you ask a New Hampshire resi- 10 The August 1948 "Going To Town" painted by Paul Sample in 1936. The scene is near Hanover. This painting was selected by International Business Machines Corporation for their show at the World's Fair in 1940 as representative of the art and character of New Hampshire. Since the day of cleared winter roads, New Hampshire residents have seldom seen this method of going to town. dent which contemporary artist he thinks can best convey the spirit of the New Hampshire countryside, he is apt to answer without hesitation: "Why, Paul Sample, of course." Sample paints the New Hampshire scene (many Vermont scenes, too) from the point of view of a realist, neither twisting the forms into abstract patterns, nor finding strange meanings, psychological or emotional implications underlying the landscape as we see it. He views it from the objective standpoint, expressing the external, rather than seeking the internal aspect of nature. Yet he avoids the banal and trite tradition of painting everything he sees, as he sees it, at a particular moment. His realism is selective, picking out and pointing up certain features, eliminating much of the overwhelming mass of detail, New Hampshire Troubadour 11 and never losing sight of the larger aspect of the painting, the total effect of the design as a whole. Particularly in his water colors, in which medium Sample has great technical skill, he achieves effects of monumentality, of tremendous space and distance with the utmost economy of means. The winter landscapes with large areas of white paper punctuated by small figures or farms nestling in the hills, accents of dark against the overpowering whiteness of the snow, are among the artist's most successful works, and the ones most prized by New Hampshire collectors. Sample feels that figures are essential to every landscape. Without them it can be exceedingly barren and lifeless. The figures lend scale and give some idea of the wide empty areas of the country around them, whether it be buried under tons of crisp white snow, or basking in the sunlight of a pleasant summer day. Congregational Church at Rye. DOUGLAS ARMSDEN Although Sample is most often occupied with the interpretation of the New England scene, his work is not at all limited to landscape. An able portrait and figure painter, he chooses the rural New England types, found in the scattered farms and the tiny villages. He has painted many of them, either busy with their farming or other daily work, or occupied with their favorite diversions — at band concerts, church suppers and socials, country auctions, at the circus, hunting, in the barber shop, enjoying a "hymn sing," or merely passing the time of day. A study of Sample's New England paintings, can give the ob- The August 7948 server a picture of small town and farm life. Not a New Englander by birth, Sample has said: "I am a New Englander by adoption on my own initiative. Born in the South, raised all over this country ... I have always felt that New England was the eventual spot for me ..." Quite appropriately Sample was chosen as the artist to represent New Hampshire in the International Business Machines Corporation collection of contemporary American art, shown at the World's Fair in 1940. A native of Louisville, Sample graduated from Dartmouth in 1921, having distinguished himself chiefly for his athletic prowess — in football, basketball and boxing, of which he was the college's heavyweight champion. He first started to paint when he was nearly 30, going to California in 1925, where he was on the faculty of the University of Southern California for 11 years. His first recognition as a painter came in 1928, when he received an award at a county fair exhibit in California. He became well known for his western landscapes, done in Arizona, Montana and New Mexico, and on the occasion of his first one-man show in New York in 1934, he was hailed as one of the rising young painters of the West. Sample came to Dartmouth in 1938 as artist-in-residence at the college, and has been there ever since, with time out during the war to serve as artist-correspondent for Life Magazine, doing a series of paintings of life on board a submarine on patrol in the Central Pacific. Sample has received prizes and awards for his work in many of the leading national and international exhibitions held in this country, and his paintings are included in the collections of a number of the leading museums. A comprehensive picture of his work as a whole may be seen in the retrospective exhibition of nearly 90 oils and water colors on view at The Currier Gallery of Art in Manchester until September 15. An illustrated catalogue has been published in connection with the exhibition. New Hampshire Troubadour 1 3 Front Cover: Androscoggin River at Shelburne. Color photo by Winston Pote. Back Cover: Covered bridge and falls on the Contoocook River, U. S. highway 202, in the Monad-nock Region near Bennington. Photo by Eric M. Sanford. Frontispiece: Scene at Bridge-water. Photo by Harold Fowler. COMING EVENTS In addition to the summer theatres mentioned in the July Troubadour, the Salisbury Players are at Salisbury Heights, and the Old Fort Players are at Charlestown. The Dartmouth Players, previously listed, are not operating. The 175th anniversary celebration of Jaffrey is to be held August 20-22." Many New Hampshire communities are observing their fiftieth Old Home Day or Old Home Week this summer. An association was established on the initiative of Gov. Frank W. Rollins in June 1899, to establish and foster the Old Home observances throughout the state. The official dates this year are August 21—28, but some towns choose different dates. The following letter was written to the editor of The Saturday Evening Post, where it appeared in the issue of June 26, 1948: '' I am 13 years old and I would like to ask you something. When are you going to have an article on one of New Hampshire's wonderful cities? "New Hampshire is the most beautiful state in the union and far above the other 'states' (?) in New England. In fact, New Hampshire is so wonderful you must be saving it for the final grand issue. Save the best until the end." Jimmy Merritt Lebanon, N. H. Then the impossible happened. While reeling the lure in, fascinatedly studying the mechanics of the spinning reel, there was a terrific yank on the line and before my stupefied eyes there rose out of the water the hugest small mouth black bass I had ever seen. It seemed to stand on the water on its tail, shaking its vast head like an enraged gnu. In an instant it had shaken the hook free of its mouth and with a final derisive sneer, dove beneath the cold gray water. — From a recent column (about Lake Winnipesaukee) in the Boston Herald by Rudolph Elie 14 The August 1948 * a NEW HAMPSHIRE BOOKS AND AUTHORS White Mountains Hilites, by Ash-lev G. Hazeltine, published by H-W-M Sales, Woodsville, N. H., $.60, is a pocket-size booklet of 48 pages, containing brief, readable information about the White Mountains Region. The subjects covered are those of the greatest interest to residents and recreational visitors. ^VJT A summary of hayfever studies made by the New Hampshire Health Department in 1947 is available upon request. It includes a list of towns and cities in which ragweed growths were classified as being light or none. The Boston, Concord, and Montreal Railroad (now part of the Boston and Maine) opened to Meredith, New Hampshire, a hundred years ago, August 10, 1848. Mr. and Mrs. H. B. Hallas of Newton Centre, Massachusetts, climbed to the tops of 58 of New England's mountains (45 of them in New Hampshire) over a period of 20 years to obtain the stones that compose the face of the fireplace (which they built themselves) shown in the photo. The view from the porch in which the fireplace is built "is a skyline of nine hills of what we like to call 'The Friendly Range,' about two miles away across the intervale of Beard Brook, which is a tributary of the north branch of the Contoocook River near East Washington, New Hampshire." To complete the theme and the aptness of the quotation,'' I will lift up mine eyes unto the hills," framed photographs of a number of the mountains from which the stones were carried hang on the walls of the porch. New Hampshire Troubadour 15 FORESIGHT I shall have lived too long when I can see Only the outlines of reality; A bridge, and not the mind that planned it there, Old thumb-latched doors, and not the cross they wear, The seasons' change, and not the laws which bring Harvest in Autumn, robins in the Spring. When I can find no thoughts to dress in rhyme Then I shall know I've lived beyond my time. —Part of a longer poem by Frederick W. Branch in his volume, Land of the Yankees RUMFORD PRESS CONCORD, N. H. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Publisher An entity responsible for making the resource available State of New Hampshire Identifier An unambiguous reference to the resource within a given context troubadour081948 Creator An entity primarily responsible for making the resource State of New Hampshire Title A name given to the resource The New Hampshire Troubadour August 1948 Description An account of the resource The August 1948 issue of The New Hampshire Troubadour. Date A point or period of time associated with an event in the lifecycle of the resource 1948 Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Hampshire Rights Information about rights held in and over the resource COPYRIGHT UNDETERMINED: This Rights Statement should be used for Items for which the copyright status is unknown and for which the organization that has made the Item available has undertaken an (unsuccessful) effort to determine the copyright status of the underlying Work. Typically, this Rights Statement is used when the organization is missing key facts essential to making an accurate copyright status determination. URI: http://rightsstatements.org/vocab/UND/1.0/ Language A language of the resource eng Subject The topic of the resource Shelburne (photo) Covered Bridges (photo) Bridgewater Mt. Washington Profile Lake (photo) Churches (photo) Rye (photo) Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. New Hampshire State Library