[1] Only give exact copies of it. Among other things, this requires that 
you do not remove, alter or modify the etext or this "small print!"
statement. You may however, if you wish, distribute this etext in 
machine readable binary, compressed, mark-up, or proprietary form, 
including any form resulting from conversion by word pro- cessing or 
hypertext software, but only so long as *EITHER*: 
[*] The etext, when displayed, is clearly readable, and does *not* 
contain characters other than those intended by the author of the work, 
although tilde (~), asterisk (*) and underline (i) characters may be used 
to convey punctuation intended by the author, and additional characters 
may be used to indicate hypertext links; OR 
[*] The etext may be readily converted by the reader at no expense into 
plain ASCII, EBCDIC or equivalent form by the program that displays 
the etext (as is the case, for instance, with most word processors); OR 
[*] You provide, or agree to also provide on request at no additional 
cost, fee or expense, a copy of the etext in its original plain ASCII form 
(or in EBCDIC or other equivalent proprietary form). 
[2] Honor the etext refund and replacement provisions of this "Small 
Print!" statement. 
[3] Pay a trademark license fee to the Project of 20% of the net profits 
you derive calculated using the method you already use to calculate 
your applicable taxes. If you don't derive profits, no royalty is due. 
Royalties are payable to "Project Gutenberg 
Association/Carnegie-Mellon University" within the 60 days following 
each date you prepare (or were legally required to prepare) your annual 
(or equivalent periodic) tax return. 
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU 
DON'T HAVE TO? 
The Project gratefully accepts contributions in money, time, scanning 
machines, OCR software, public domain etexts, royalty free copyright 
licenses, and every other sort of contribution you can think of. Money 
should be paid to "Project Gutenberg Association / Carnegie-Mellon 
University".
*END*THE SMALL PRINT! FOR PUBLIC DOMAIN 
ETEXTS*Ver.04.29.93*END* 
 
This etext was prepared by David Price, email 
[email protected] 
from the 1915 Hodder and Stoughton edition. 
 
Penelope's Postscripts 
by Kate Douglas Wiggin 
 
Contents: 
Penelope in Switzerland Penelope in Venice Penelope's Prints of Wales 
Penelope in Devon Penelope at Home 
 
PENELOPE IN SWITZERLAND 
 
A DAY IN PESTALOZZI-TOWN 
Salemina and I were in Geneva. If you had ever travelled through 
Europe with a charming spinster who never sat down at a Continental 
table d'hote without being asked by an American vis-a-vis whether she 
were one of the P.'s of Salem, Massachusetts, you would understand 
why I call my friend Salemina. She doesn't mind it. She knows that I 
am simply jealous because I came from a vulgarly large tribe that never 
had any coat-of-arms, and whose ancestors always sealed their letters 
with their thumb nails. 
Whenever Francesca and I call her "Salemina," she knows, and we 
know that she knows, that we are seeing a group of noble ancestors in a 
sort of halo over her serene and dignified head, so she remains
unruffled under her petit nom, inasmuch as the casual public 
comprehends nothing of its spurious origin and thinks it was given her 
by her sponsors in baptism. 
Francesca, Salemina, and I have very different backgrounds. The 
first-named is an extremely pretty person of large income who is 
travelling with us simply because her relatives think that she will "see 
Europe" more advantageously under our chaperonage than if she were 
accompanied by persons of her own age or "set." 
Salemina is a philanthropist and educator of the first rank, and is 
collecting all sorts of valuable material to put at the service of her own 
country when she returns to it, which will not be a moment before her 
letter of credit is exhausted. 
I, too, am quasi-educational, for I had a few years of experience in 
mothering and teaching little waifs and strays of the streets before I 
began to paint pictures. Never shall I regret those nerve-racking, 
back-breaking, heart-warming, weary, and beautiful years, when, all 
unconsciously, I was learning to paint children by living with them. 
Even now the spell still works and it is the curly head, the "shining 
morning face," the ready tear, the glancing smile of childhood that 
enchains me and gives my brush whatever skill it possesses. 
We had not been especially high-minded or educational in Switzerland, 
Salemina and I. The worm will turn; and there is a point where the 
improvement of one's mind seems a farce, and the service of humanity, 
for the moment, a duty only born of a diseased imagination. 
How can one sit on a vine-embowered balcony facing lovely Lake 
Geneva and think about modern problems,--Improved Tenements, 
Child Labour, Single Tax, Sweat Shops, and the Right Training of the 
Rising Civilization? Blue Lake Geneva!--blue as