He then travels through enchanting scenery, and is conducted to the mine. "Some five and twenty or thirty shaggy rough-looking men were about. These were the miners. Their appearance was not reassuring, and when the engineer left me alone with them, with a parting injunction that I was to make them feel I had an iron will at once, I confess I felt myself uncomfortably young, and a little bit at a loss. "We proceeded to business at once, however; and as I met their first little symptoms of insubordination with one or two acts of summary justice (which I will spare the reader, but which, emanating from me, caused me unlimited astonishment), I soon established a proper authority over them, and we thenceforward got on together capitally." We are then given extracts from a mining diary--significantly left off at a particular stage of the proceedings--used as a sketch-book. An unfavourable report as to the finding of gold is sent in to the board. "The miners did not believe in the mine, and as they perceived that I did not either, they believed in me to a most flattering extent." He soon got very much attached to the miners, and used to tell stories about foreign lands while they were distilling the pure mercury, or performing other innocent operations suggested by the board, enlightening them on various subjects where he felt their ignorance to be equal to his own. "My letters home contained descriptions and sketches of them, and my mamma became interested in their spiritual welfare." Surrounded by the halo of memory, they afterwards seemed to him primitive gentlemen worthy of King Arthur's Round Table. He describes existence between the hours of work as full of charm owing to the friendship of surrounding farmers and small gentry. In a "Trilby" way he describes how he "rode, and wrestled, and boxed with them! and fell in love with their sisters, and sketched them, and sang Tyrolese melodies to them, ... blessing the lucky stroke of fortune which had made him mining engineer to a gold mine without any gold, and managed by gentlemen who obstinately persisted in ignoring the latter important fact, in spite of his honest endeavours to persuade them of it." "I have," he says, "only to hum a certain 'jodel' chorus, and the whole scene returns to me, surrounded by that peculiar fascination which belongs to past pleasures--a phenomenon far more interesting to me than the most marvellous phenomenon of science." Every artist is an experimental psychologist, the material for his art is really always some mental experience. He wishes to communicate with his public in the spirit of this experience. With Scott it was the old associations of places, with du Maurier the associations of "old times," of personal memory. This was the frame of mind the interpretation of which absorbed him in his literary art, distinguishing it, except in his early _Cornhill_ work, from his art with the pencil.