Linton's French chalk had been applied. At one end, near the railing
guarding the trapdoor, the Cunjee musicians were stationed, and close
to them a queer old figure hovered--old Andy Ferguson, gnarled and
knotted and withered; Irish, for all his Scotch name, and with his old
blue eyes full of Irish fire at the thought of "a spree." He held his
old fiddle tenderly as he might hold a child; it, too, was the worse
for wear, and showed in more than one place traces of repair; but when
Andy wielded the bow its tones were just as mellow to him as the finest
instrument on earth. He kept a jealous eye on the Cunjee men; they
might oust him for most of the night, but at least his was to be the
old privilege of opening the ball. "The Boss" had said so.
The homestead men had lined up near the door to receive their
guests--to-night they were hosts to Mr. Linton and his children, as to
every one else. They were a fine lot of fellows--Murty O'Toole, and Mick
Shanahan, the horse breaker, and Willis and Blake and Burton--all long
and lean and hard, with deep-set, keen eyes and brown, thin faces;
Evans, who was supposed to be over-seer, and important enough to arrive
late; younger fellows, like Fred Anderson and David Boone (the latter's
hair suspiciously smooth and shiny); Hogg, the dour old man who ruled
the flower garden and every one but Norah; and a sprinkling of odd
rouseabouts and boys, very sleek and well brushed, in garments of
varying make, low collars, and the tie the bushman loves "for
best"--pale blue satin, with what Wally termed "jiggly patterns" on it.
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