Then I relocated the claim and called it The Marble-Top Cemetery Lode, and went away. Probably if I had gone down on it, the ore would have shown free milling tombstones and Power's Greek slaves and all that kind of business, but I felt kind of depressed all the time while I was at work on it. There was a kind of "Hark from the tombs a doleful sound," air about the whole mine. Cummins City still booms. Building lots have gone up to $100 each. This for a place where a few weeks ago the song of the coyote was heard in the land, and where the valley of the river, and bald sides of the rugged mountains were unscarred, is a good showing. The magical power of a mineral excitement to transform the bleak prairie and the rocky canyon into a thriving village at once, is something to command our admiration and wonder. Two months ago, I might say, the little village of Cummins City was nothing but a little caucus of prairie dogs, and a ward meeting of woodticks. Now look at it. Opera houses, orphan asylums, hurdy-gurdies, churches, barber shops, ice-cream saloons, dog-fights, musical _soirees_, spruce gum, bowling-allies, salvation, and three card monte. Everything in fact that the heart of man could yearn after. As you drive up Euclid Avenue, you smell the tropical fragrance of frying bacon, and hear the recorder of the district murmuring with a profane murmur because his bread won't raise. Here and there along the river bank, like a lot of pic-nickers, the guileless miners are panning pounded quartz, or submitting their socks to the old process for freeing them from decomposed quartzite, and nonargentiferous clayite. Flying from the dome of the opera house is a red flannel shirt, while a pair of corpulent drawers of the same ruddy complexion, is gathering all the clear, bracing atmosphere of that locality. As a picturesque tower on the roof of the Grand Central, the architect has erected a minaret or donjon keep, which is made to represent a salt barrel. So true to life is this new and unique design, that sometimes the cattle which roam up and down Euclid Avenue, climb up on the mansard roof of the Grand Central, and lick the salt off the donjon keep, and fall over the battlements into the moated culverin, or stick their feet through the roof and rattle the pay gravel into the custard pie and cottage pudding. Bill Root, the stage driver, went out there during the early days of the camp, and with more or less red liquor stowed away among his vitals.