The vigilantes of Montana; Or, popular justice in the Rocky Mountains: Being a correct and impartial narrative of the chase, trial, capture and execution of Henry Plummer's road agent band, together with accounts of the lives and crimes of many of the robbers and desperadoes, the whole being interspersed with sketches of life in the mining camps of the "Far West" — John Shaqi
The vigilantes of Montana; Or, popular justice in the Rocky Mountains: Being a correct and impartial narrative of the chase, trial, capture and execution of Henry Plummer's road agent band, together with accounts of the lives and crimes of many of the robbers and desperadoes, the whole being interspersed with sketches of life in the mining camps of the "Far West"Dimsdale, Thos. J. (Thomas Josiah)
History
The vigilantes of Montana; Or, popular justice in the Rocky Mountains: Being a correct and impartial narrative of the chase, trial, capture and execution of Henry Plummer's road agent band, together with accounts of the lives and crimes of many of the robbers and desperadoes, the whole being interspersed with sketches of life in the mining camps of the "Far West"
Dimsdale, Thos. J. (Thomas Josiah)
Criminals -- Montana; Frontier and pioneer life -- Montana; Montana -- History -- 19th century; Plummer, Henry Amos, -1864; Vigilance committees
One “institution,” offering a shadowy and dangerous substitute for more
legitimate female association, deserves a more peculiar notice. This is
the “Hurdy-Gurdy” house. As soon as the men have left off work, these
places are opened, and dancing commences. Let the reader picture to
himself a large room, furnished with a bar at one end--where champagne
at $12 (in gold) per bottle, and “drinks” at twenty-five to fifty
cents, are wholesaled, (correctly speaking)--and divided, at the end of
this bar, by a railing running from side to side. The outer enclosure
is densely crowded (and, on particular occasions, the inner one also)
with men in every variety of garb that can be seen on the continent.
Beyond the barrier, sit the dancing women, called “hurdy-gurdies,”
sometimes dressed in uniform, but, more generally, habited according
to the dictates of individual caprice, in the finest clothes that
money can buy, and which are fashioned in the most attractive styles
that fancy can suggest. On one side is a raised orchestra. The music
suddenly strikes up, and the summons, “Take your partners for the next
dance,” is promptly answered by some of the male spectators, who paying
a dollar in gold for a ticket, approach the ladies’ bench, and--in
style polite, or otherwise, according to antecedents--invite one of the
ladies to dance.
The number being complete, the parties take their places, as in any
other dancing establishment, and pause for the performance of the
introductory notes of the air.
Let us describe a first class dancer--“sure of a partner every
time”--and her companion. There she stands at the head of the set. She
is of middle height, of rather full and rounded form; her complexion as
pure as alabaster, a pair of dangerous looking hazel eyes, a slightly
Roman nose, and a small and prettily formed mouth. Her auburn hair is
neatly banded and gathered in a tasteful, ornamented net, with a roll
and gold tassels at the side. How sedate she looks during the first
figure, never smiling till the termination of “promenade, eight,” when
she shows her little white hands in fixing her handsome brooch in
its place, and settling her glistening ear-rings. See how nicely her
scarlet dress, with its broad black band round the skirt, and its black
edging, sets off her dainty figure. No wonder that a wild mountaineer
would be willing to pay--not one dollar, but all that he has in his
purse, for a dance and an approving smile from so beautiful a woman.
Public-domain text, read in full here on John Shaqi.
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