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Nalluri & Featherstone's

Civil Engineering Hydraulics

EssentialTheory withWorked
Examples

6th Edition

Martin Marriott
University of East London
This edition first published 2016
Fifth edition first published 2009
Fourth edition published 2001
Third edition published 1995
Second edition published 1988
First edition published 1982
First, second, third, fourth and fifth editions © 1982, 1988, 1995, 2001 and 2009
by R.E. Featherstone & C. Nalluri
This edition © 2016 by John Wiley & Sons, Ltd
Blackwell Publishing was acquired by John Wiley & Sons in February 2007.
Blackwell's publishing programme has been merged with Wiley's global Scientific,
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Library of Congress Cataloging-in-Publication Data
Names: Marriott, Martin, author. | Featherstone, R. E., author. | Nalluri, C.,
author.
Title: Nalluri & Featherstone's civil engineering hydraulics : essential theory with
worked examples.
Other titles: Civil engineering hydraulics
Description: 6th edition/ Martin Marriott, University of East London. |
Chichester,West Sussex, United Kingdom : John Wiley & Sons, Inc., 2016. |
Includes bibliographical references and index.
Identifiers: LCCN 2015044914 (print) | LCCN 2015045968 (ebook) | ISBN
9781118915639 (pbk.) | ISBN 9781118915806 (pdf) | ISBN 9781118915660 (epub)
Subjects: LCSH: Hydraulic engineering. | Hydraulics.
Classification: LCC TC145 .N35 2016 (print) | LCC TC145 (ebook) | DDC 627–dc23
LC record available at http://lccn.loc.gov/2015044914
A catalogue record for this book is available from the British Library.
Wiley also publishes its books in a variety of electronic formats. Some content that
appears in print may not be available in electronic books.
Cover image: Itoshiro Dam/structurae.de
CONTENTS
Preface to the Sixth Edition
About the Author
Symbols
Chapter 1 Properties of Fluids
1.1 Introduction
1.2 Engineering units
1.3 Mass density and specific weight
1.4 Relative density
1.5 Viscosity of fluids
1.6 Compressibility and elasticity of fluids
1.7 Vapour pressure of liquids
1.8 Surface tension and capillarity
Worked examples
References and recommended reading
Problems
Chapter 2 Fluid Statics
2.1 Introduction
2.2 Pascal’s law
2.3 Pressure variation with depth in a static incompressible
fluid
2.4 Pressure measurement
2.5 Hydrostatic thrust on plane surfaces
2.6 Pressure diagrams
2.7 Hydrostatic thrust on curved surfaces
2.8 Hydrostatic buoyant thrust
2.9 Stability of floating bodies
2.10 Determination of metacentre
 2.11 Periodic time of rolling (or oscillation) of a floating body
2.12 Liquid ballast and the effective metacentric height
2.13 Relative equilibrium
Worked examples
References and recommended reading
Problems
Chapter 3 The kinematics of fluids deals with space
3.1 Kinematics of fluids
3.2 Steady and unsteady flows
3.3 Uniform and non-uniform flows
3.4 Rotational and irrotational flows
3.5 One-, two-and three-dimensional flows
3.6 Streamtube and continuity equation
3.7 Accelerations of fluid particles
3.8 Two kinds of fluid flow
3.9 Dynamics of fluid flow
3.10 Energy equation for an ideal fluid flow
3.11 Modified energy equation for real fluid flows
3.12 Separation and cavitation in fluid flow
3.13 Impulse—momentum equation
3.14 Energy losses in sudden transitions
3.15 Flow measurement through pipes
3.16 Flow measurement through orifices and mouthpieces
3.17 Flow measurement in channels
Worked examples
References and recommended reading
Problems
Chapter 4 Flow of Incompressible Fluids in Pipelines
4.1 Resistance in circular pipelines flowing full
4.2 Resistance to flow in non-circular sections
 4.3 Local losses
Worked examples
References and recommended reading
Problems
Chapter 5 Pipe Network Analysis
5.1 Introduction
5.2 The head balance method (‘loop’ method)
5.3 The quantity balance method (‘nodal’ method)
5.4 The gradient method
Worked examples
References and recommended reading
Problems
Chapter 6 Pump–Pipeline System Analysis and Design
6.1 Introduction
6.2 Hydraulic gradient in pump–pipeline systems
6.3 Multiple pump systems
6.4 Variable-speed pump operation
6.5 Suction lift limitations
Worked examples
References and recommended reading
problist
Chapter 7 Boundary Layers on Flat Plates and in Ducts
7.1 Introduction
7.2 The laminar boundary layer
7.3 The turbulent boundary layer
7.4 Combined drag due to both laminar and turbulent
boundary layers
7.5 The displacement thickness
7.6 Boundary layers in turbulent pipe flow
7.7 The laminar sub-layer
Worked examples
 References and recommended reading
Problems
Chapter 8 Steady Flow in Open Channels
8.1 Introduction
8.2 Uniform flow resistance
8.3 Channels of composite roughness
8.4 Channels of compound section
8.5 Channel design
8.6 Uniform flow in part-full circular pipes
8.7 Steady, rapidly varied channel flow energy principles
8.8 The momentum equation and the hydraulic jump
8.9 Steady, gradually varied open channel flow
8.10 Computations of gradually varied flow
8.11 The direct step method
8.12 The standard step method
8.13 Canal delivery problems
8.14 Culvert flow
8.15 Spatially varied flow in open channels
Worked examples
References and recommended reading
Problems
Chapter 9 Dimensional Analysis, Similitude and Hydraulic
Models
9.1 Introduction
9.2 Dimensional analysis
9.3 Physical significance of non-dimensional groups
9.4 The Buckingham π theorem
9.5 Similitude and model studies
References and recommended reading
Problems
Chapter 10 Ideal Fluid Flow and Curvilinear Flow
 10.1 Ideal fluid flow
10.2 Streamlines, the stream function
10.3 Relationship between discharge and stream function
10.4 Circulation and the velocity potential function
10.5 Stream functions for basic flow patterns
10.6 Combinations of basic flow patterns
10.7 Pressure at points in the flow field
10.8 The use of flow nets and numerical methods
10.9 Curvilinear flow of real fluids
10.10 Free and forced vortices
Worked examples
References and recommended reading
Problems
Chapter 11 Gradually Varied Unsteady Flow from Reservoirs
11.1 Discharge between reservoirs under varying head
11.2 Unsteady flow over a spillway
11.3 Flow establishment
Worked examples
References and recommended reading
Problems
Chapter 12 Mass Oscillations and Pressure Transients in
Pipelines
12.1 Mass oscillation in pipe systems-surge chamber operation
12.2 Solution neglecting tunnel friction and throttle losses for
sudden discharge stoppage
12.3 Solution including tunnel and surge chamber losses for
sudden discharge stoppage
12.4 Finite difference methods in the solution ofthe surge
chamber equations
12.5 Pressure transients in pipelines (waterhammer)
12.6 The basic differential equations of waterhammer
 12.7 Solutions of the waterhammer equations
12.8 The Allievi equations
12.9 Alternative formulation
Worked examples
References and recommended reading
Problems
Chapter 13 Unsteady Flow in Channels
13.1 Introduction
13.2 Gradually varied unsteady flow
13.3 Surges in open channels
13.4 The upstream positive surge
13.5 The downstream positive surge
13.6 Negative surge waves
13.7 The dam break
Worked examples
References and recommended reading
Problems
Chapter 14 Uniform Flow in Loose-Boundary Channels
14.1 Introduction
14.2 Flow regimes
14.3 Incipient (threshold) motion
14.4 Resistance to flow in alluvial (loose-bed) channels
14.5 Velocity distributions in loose-boundary channels
14.6 Sediment transport
14.7 Bed load transport
14.8 Suspended load transport
14.9 Total load transport
14.10 Regime channel design
14.11 Rigid-bed channels with sediment transport
Worked examples
 References and recommended reading
Problems
Chapter 15 Hydraulic Structures
15.1 Introduction
15.2 Spillways
15.3 Energy dissipators and downstream scour protection
Worked examples
References and recommended reading
Problems
Chapter 16 Environmental Hydraulics and Engineering
Hydrology
16.1 Introduction
16.2 Analysis of gauged river flow data
16.3 River Thames discharge data
16.4 Flood alleviation, sustainability and environmental
channels
16.5 Project appraisal
Worked examples
References and recommended reading
Problems
Chapter 17 Introduction to Coastal Engineering
17.1 Introduction
17.2 Waves and wave theories
17.3 Wave processes
17.4 Wave set-down and set-up
17.5 Wave impact, run-up and overtopping
17.6 Tides, surges and mean sea level
17.7 Tsunami waves
Worked examples
References and recommended reading
Problems
 Answers
Index
Eula

List of Tables
Chapter 2
Table 2.1
Chapter 8
Table 8.1
Table 8.2
Table 8.3
Chapter 14
Table 14.1
Table 14.2
Table 14.3
Table 14.4
Table 14.5
Table 14.6
Table 14.7
Table 14.8
Table 14.9
Table 14.10
Table 14.11
Chapter 15
Table 15.1
Table 15.2
Table 15.3
 Table 15.4
Table 15.5
Chapter 16
Table 16.1

List of Illustrations
Chapter 2
Figure 2.1 Pressure at a point.
Figure 2.2 Pressure variation with elevation.
Figure 2.3 Pressure and pressure head at a point.
Figure 2.4 Pressure measurement devices: (a) piezometer,
(b) U-tube, (c) inclined mano-meter and (d) differential
manometers.
Figure 2.5 Hydrostatic thrust on a plane surface.
Figure 2.6 Vertical plane surface.
Figure 2.7 Centre of pressure of an asymmetrical plane
surface.
Figure 2.8 Pressure diagrams: (a) horizontal surface, (b)
vertical surface and (c) inclined surface.
Figure 2.9 Pressure prism.
Figure 2.10 Hydrostatic thrust on curved surface.
Figure 2.11 Thrust components on curved surfaces: (a)
surface containing liquid and(b) surface displacing liquid.
Figure 2.12 Submerged body and buoyant thrust.
Figure 2.13 Centre of buoyancy and metacentre: (a)
equilibrium condition and (b) disturbed condition.
Figure 2.14 Conditions of equilibrium: (a) stable, (b)
unstable and (c) neutral.
Figure 2.15 Determination of metacentre.
Figure 2.16 Floating vessel with liquid ballast: (a) tank and
(b) vessel.
Figure 2.17 Fluid subjected to linear accelerations: (a)
horizontal acceleration and (b) vertical acceleration.
Figure 2.18 Fluid subjected to radial acceleration.
Figure 2.19 Hydraulic jack.
Figure 2.20 U-tube manometer: (a) initial situation and (b)
if pressure falls.
Figure 2.21 Differential micromanometer.
Figure 2.22 Inclined U-tube manometer.
Figure 2.23 Open tank with sloping sides: (a) sides sloping
outwards and (b) sloping inwards.
Figure 2.24 Oil and water thrusts on a side of a tank.
Figure 2.25 Circular gate.
Figure 2.26 Gate retaining water on both sides.
Figure 2.27 Open tank with plane and curved surfaces: (a)
tank elevation and (b) pressure diameter.
Figure 2.28 Roller gate on a spillway.
Figure 2.29 Lock gates: (a) plan view and (b) section a-a.
Figure 2.30 Determination of metacentric height and
stability conditions: (a) ship and(b) cylinder.
Figure 2.31 Oil tanker subjected to accelerations: (a) half full
and (b) full.
Figure 2.32 Rotating cylinder: (a) ω = 33.5 rad/s and (b) ω =
67.0 rad/s.
Figure 2.33 Hinged radial gate.
Figure 2.34 Sector or tainter gate.
Figure 2.35 Parabolic profile of the inner face of a dam.
Figure 2.36 Floating platform: (a) single beam and (b)
platform.
Chapter 3
Figure 3.1 Descriptions of fluid flow: (a) pathline and (b)
velocity vector.
Figure 3.2 Streamtube.
Figure 3.3 Curved motion: (a) curved path and (b) velocity
vectors.
Figure 3.4 Streamline patterns and types of acceleration: (a)
no accelerations exist; (b) tangential convective accelerations;
(c) normal convective accelerations; and (d) tangential and
normal convective accelerations.
Figure 3.5 Euler’s equation of motion.
Figure 3.6 Velocity (kinetic) energy correction factor: (a)
uniform distribution and (b) nonuniform distribution.
Figure 3.7 Separation and cavitation phenomena: (a) rising
main of uniform diameter and (b) horizontal converging–
diverging pipe.
Figure 3.8 Energy losses in sudden transitions: (a) sudden
expansion and (b) sudden contraction.
Figure 3.9 Discharge measurement through pipes: (a)
venturi meter and (b) orifice meter.
Figure 3.10 Pitot tube.
Figure 3.11 Small orifice (h ≫ d).
Figure 3.12 Hydraulic coefficients for some typical orifices
and mouthpieces: (a) sharp-edged orifice, (b) bell-mouthed
orifice, (c) mouthpiece, (d) and (e) Borda’s (re-entrant)
mouthpieces and (f) divergent tube.
Figure 3.13 Large rectangular orifice.
Figure 3.14 Velocity of approach – large rectangular orifice:
(a) orifice with approach velocity, (b) orifice in inclined wall
and (c) submerged orifice.
Figure 3.15 Time taken to empty a tank.
 Figure 3.16 Rectangular notch with end contractions.
Figure 3.17 Sutro or proportional weir.
Figure 3.18 Cross section of an ogee spillway.
Figure 3.19 Variation of Cd0 with P/Hde.
Figure 3.20 Variation in Cd/Cd0 with He/Hde.
Figure 3.21 Branching pipeline.
Figure 3.22 Flow through a hydraulic turbine.
Figure 3.23 Flow through a vertical constriction.
Figure 3.24 Flow through the suction pipe of a pump.
Figure 3.25 Jet dynamics.
Figure 3.26 Siphon pipeline.
Figure 3.27 Forces on a converging bend.
Figure 3.28 Forces on flat plates: (a) inclined plate and (b)
hinged plate.
Figure 3.29 Flow through a hydraulic pump.
Chapter 4
Figure 4.1 Pressure head and energy gradients in full,
uniform pipe flow.
Figure 4.2 The Moody diagram.
Figure 4.3 Extract from Charts for the Hydraulic Design of
Channels and Pipes (1990). Reproduced by permission of HR
Wallingford.
Figure 4.4 Energy losses in uniform pipeline.
Figure 4.5 Energy losses in pipes in series with outflow.
Figure 4.6 Head loss versus discharge.
Figure 4.7 Head loss in pipe with uniform lateral outflow.
Figure 4.8 Flow through pipeline between two reservoirs,
with outflow from receiving reservoir.
 Figure 4.9 Pipes in parallel.
Figure 4.10 Flow resistance in a non-circular conduit.
Figure 4.11 Flow resistance in a non-circular conduit.
Figure 4.12 Pumped-storage power scheme in generating
mode.
Figure 4.13 Tunnel and penstock.
Figure 4.14 Pressure and velocity conditions at nozzle.
Chapter 5
Figure 5.1 Closed-loop pipe network.
Figure 5.2 Branched-type pipe network.
Figure 5.3 Two-loop network.
Figure 5.4 Pipe network with valve losses.
Figure 5.5 Network of Example 5.2 with pump.
Figure 5.6 Network connecting multi-reservoirs.
Figure 5.7 Network of Example 5.4 with valve losses.
Figure 5.8 Network of with pump.
Figure 5.9 Network with multi-reservoirs.
Figure 5.10 Pipe network with valve loss.
Figure 5.11 Network solution.
Figure 5.12 Pipes in parallel.
Figure 5.13 Network with reservoirs.
Figure 5.14 Network with reservoirs.
Figure 5.15 Network with reservoirs.
Figure 5.16 Two-loop network.
Figure 5.17 Pipes in parallel.
Figure 5.18 Three-loop network.
Figure 5.19 Network with reservoirs.
Chapter 6
Figure 6.1 Total energy and hydraulic grade lines in pipeline
with pump.
Figure 6.2 Typical performance curve for centrifugal pump.
Figure 6.3 Pumps operating in parallel.
Figure 6.4 Characteristic curves for identical pumps
operating in parallel.
Figure 6.5 Pumps operating in series.
Figure 6.6 Effect of speed change on pump characteristics.
Figure 6.7 Head conditions in suction pipe.
Figure 6.8 Suction and delivery pressures across pump.
Figure 6.9 Pump and system characteristics.
Figure 6.10 Parallel operation.
Figure 6.11 Series operation.
Figure 6.12 Pump operation with variable speed.
Figure 6.13 Pipe delivery with booster pump.
Figure 6.14 Pump and gravity and system characteristics.
Figure 6.15 Pipe network with pump.
Figure 6.16 Pump characteristic head–discharge curve.
Chapter 7
Figure 7.1 Boundary layer formation on a flat plate.
Figure 7.2 Displacement thickness.
Figure 7.3 Velocity distribution – log law.
Figure 7.4 Variation of λ with Re for artificially roughened
pipes.
Figure 7.5 Variations in thickness of a laminar sub-layer
with Reynolds number: (a) smooth turbulent, (b) transitional
turbulent and (c) rough turbulent.
 Figure 7.6 Laminar sub-layer on a smooth boundary.
Figure 7.7 The transition zone for artificially roughened
pipes.
Figure 7.8 Flow analysis in a pipeline.
Chapter 8
Figure 8.1 Energy components.
Figure 8.2 Steady, varied-flow surface profiles: (a) gradually
varied and (b) rapidlyvaried through a venturi flume
Figure 8.3 Compound channel section.
Figure 8.4 Trapezoidal channel.
Figure 8.5 Distribution of shear stress on channel boundary.
Figure 8.6 Circular channel section.
Figure 8.7 Specific energy curve.
Figure8.8 The hydraulic jump.
Figure 8.9 Reference diagram for momentum equation.
Figure 8.10 Varied flow in channel.
Figure8.11 The direct step method.
Figure 8.12 The standard step method.
Figure 8.13 Culvert flow with free entrance. L, length of
culvert; D, height of culvert; S0, bed slope; y1, depth at
entrance; y2, depth at exit; y0, uniform flow depth; yc, critical
depth; K, entry loss coefficient; TEL, total energy line; TWL,
tail water level.
Figure 8.14 Flow through trapezoidal channel.
Figure 8.15 Normal depth versus discharge.
Figure 8.16 Velocity profile in rough turbulent zone.
Figure 8.17 The equivalent Manning, n in channel of
variable boundary roughness.
Figure 8.18 Two-stage (compound) channel.
 Figure 8.19 Channel inlet.
Figure 8.20 Depth at inlet versus discharge.
Figure 8.21 Q curves in steep-sloped channel.
Figure 8.22 Proportional depth versus proportional
discharge and proportional velocity.
Figure 8.23 Flow over hump.
Figure 8.24 Specific energy curves with hump.
Figure 8.25 Sill height versus depths upstream and over
hump.
Figure 8.26 Hump as flow-measuring structure.
Figure 8.27 Channel contraction - venturi flume.
Figure 8.28 Specific energy curves at throat.
Figure 8.29 Sluice gate control and hydraulic jump.
Figure 8.30 Submerged hydraulic jump.
Figure 8.31 Design of broad-crested weir.
Figure 8.32 Design of venturi flume.
Figure 8.33 Non-uniform flow downstream of sluice gate.
Figure 8.34 Compound channel.
Chapter 10
Figure 10.1 Two-dimensional ideal fluid flow: (a)
streamlines and (b) streamtube.
Figure 10.2 Adjacent streamlines.
Figure 10.3 Velocity potential.
Figure 10.4 Flow nets: (a) flow over a sharp-crested area and
(b) flow under a sluice gate.
Figure 10.5 Rectilinear flows (a) in the x-direction, (b) in the
y-direction and (c) from a line source.
Figure 10.6 Combinations of basic flow patterns.
 Figure 10.7 Rectangular mesh – numerical method.
Figure 10.8 Grid points and boundary.
Figure 10.9 Curvilinear flow.
Figure 10.10 Flow net using polar coordinates.
Figure 10.11 Flow under gate.
Figure 10.12 Plot of flow net.
Figure 10.13 Flow across bend.
Figure 10.14 (a) Velocity and (b) pressure variations, across
bend.
Figure 10.15 Forced vortex motion.
Figure 10.16 Siphon spillway.
Figure 10.17 Flow across a rectangular channel bend.
Figure 10.18 Source release of pollutant.
Figure 10.19 Flow through a contracted rectangular duct.
Chapter 11
Figure 11.1 Flow through pipe with varying head.
Figure 11.2 Flow through orifice under varying head.
Figure 11.3 Reservoir routing.
Figure 11.4 Flow establishment through pipeline.
Figure 11.5 Variation of reservoir levels with time.
Figure 11.6 Reservoir flood.
Chapter 12
Figure 12.1 Medium-head hydropower scheme.
Figure 12.2 Surge chamber oscillations.
Figure 12.3 Pressure transients in uniform pipeline due to
sudden valve closure.
Figure 12.4 Unsteady flow field.
 Figure 12.5 Propagation of pressure wave.
Chapter 13
Figure 13.1 Propagation of low wave in channel.
Figure 13.2 Positive surge waves: (a) rapid opening of gate
and (b) rapid closure of gate.
Figure 13.3 Negative surge waves
Figure 13.4 Upstream positive surge.
Figure 13.5 Upstream positive surge.
Figure 13.6 Downstream positive surge.
Figure 13.7 Propagation of negative surge.
Figure 13.8 Negative surge propagation (upstream).
Figure 13.9 Negative surge of finite height
Figure 13.10 Downstream negative surge.
Figure 13.11 Sudden gate or dam bursting.
Figure 13.12 Wave front propagation.
Figure 13.13 Wave front propagation.
Chapter 14
Figure 14.1 Shields diagram.
Figure 14.2 Plot of K1 and K2 functions.
Figure 14.3 Plot of K1 and K2 versus particle diameter.
Figure 14.4 Fall velocities of sediment particles.
Figure 14.5 Plot of ϕ versus ψ functions.
Figure 14.6 Plot of suspended load concentrations.
Figure 14.7 Values for the parameter P.
Figure 14.8 Limit-deposition concentration of suspended silt
in circular, rectangular and trapezoidal channel.
Figure 14.9 Modified Shields curve.
 Figure 14.10 Resistance curve for smooth walls.
Figure 14.11 Cosine profile - most economical section.
Figure 14.12 Cosine profile with flat bed for large discharges.
Chapter 15
Figure 15.1 Crest of an ogee overfall spillway.
Figure 15.2 Air entrainment on overfall spillway surface.
Figure 15.3 Side channel spillway: (a) plan view and (b)
section A-A.
Figure 15.4 Hydraulic jump with conjugate depth equal to
tailwater level: (a) simple horizontal (stilling basin) apron and
(b) stilling basin with lowered bed to achieve y2 = yT.
Figure 15.5 Hydraulic jump with conjugate depth greater
than tailwater level: (a) hydraulic jump outside of the stilling
basin when y2 > yT and (b) downstream prominent weir
pushing hydraulic jump into the stilling basin.
Figure 15.6 Hydraulic jump with conjugate depth smaller
than the tailwater level: (a) submerged jump at the dam toe
when y2 < yT and (b) extension of the toe by a sloping apron
(free jump in stilling basin).
Figure 15.7 Design of a stilling basin bed level.
Figure 15.8 Upstream and downstream profiles for the
proposed spillway.
Figure 15.9 Variation of the discharge coefficient as a
function of H/Hd.
Figure 15.10 Stage-discharge relationship for the proposed
spillway.
Figure 15.11 Water surface profile of spatially varied flow
along the side channel.
Figure 15.12 Stilling basin design example.
Figure 15.13 Scheme of the stilling basin final design
including its floor level and general dimensions (USBR, 1987;
 Novak et al., 2007).
Chapter 16
Figure 16.1 River Thames Gumbel extreme value type 1
distribution, 1884-2003; points displayed using Gringorten
formula and trend line fitted by method of moments.
Figure 16.2 River Thames generalised logistic distribution,
1884-2003; points displayed using Gringorten formula and
trend line fitted using L moments.
Figure 16.3 Loss versus probability relationship.
Chapter 17
Figure 17.1 Wave patterns of (a) long-crested waves (regular
waves), and (b) short-crested waves (irregular waves).
Figure 17.2 Definition sketch of sinusoidal wave (regular
wave).
Figure 17.3 Wavelength as a function of wave period and
water depth.
Figure 17.4 Wave celerity as a function of wave period and
water depth.
Figure 17.5 Water particle displacement through a
sinusoidal wave pattern.
Figure 17.6 Water particle displacement through a
sinusoidal wave pattern.
Figure 17.7 Rayleigh distribution.
Figure 17.8 TMA shallow water correction.
Figure 17.9 Wave refraction by Snell’s law.
Figure 17.10 Predicted wave refraction over an offshore
shoal (wave height 1 m, wave period 4 s, water level -1 m
relative to ordnance datum (OD)).
Figure 17.11 Variation of shoaling coefficient Ks with water
depth.
Figure 17.12 Wave diffraction at a breakwater.
Figure 17.13 Wave-breaking phenomenon.
Figure 17.14 Wave breaker types.
Figure 17.15 Standing wave pattern off a vertical wall.
Figure 17.16 Wave set-down and set-up.
Preface to Sixth Edition
This book has regularly been on reading lists for hydraulics and
water engineering modules for university civil engineering degree
students. The concise summary of theory and the worked examples
have been useful to me both as a practising engineer and as an
academic.
The fifth edition aimed to retain all the good qualities of Nalluri and
Featherstone's previous editions, with updating as necessary and
with an additional chapter on environmental hydraulics and
hydrology.
The latest sixth edition now adds a new chapter on coastal
engineering prepared by my colleague Dr Ravindra Jayaratne based
on original material and advice from Dr Dominic Hames of HR
Wallingford. As before, each chapter contains theory sections, after
which there are worked examples followed by a list of references and
recommended reading. Then there are further problems as a useful
resource for students to tackle. The numerical answers to these are at
the back of the book, and solutions are available to download from
the publisher's website: http://www.wiley.com/go/Marriott.
I am grateful to all those who have helped me in many ways, either
through their advice in person or through their published work, and
of course to the many students with whom I have enjoyed studying
this material.
Martin Marriott
University of East London
2016
 About the Author
This well-established text draws on Nalluri and Featherstone's
extensive teaching experience at Newcastle University, including
material provided by Professor J. Saldarriaga of the University of Los
Andes, Colombia. The text has been updated and extended by Dr
Martin Marriott with input from Dr Ravindra Jayaratne of the
University of East London and Dr Dominic Hames of HR
Wallingford.
Martin Marriott is a chartered civil engineer, with degrees from the
Universities of Cambridge, Imperial College London and
Hertfordshire. He has wide professional experience in the UK and
overseas with major firms of consulting engineers, followed by many
years of experience as a lecturer in higher education, currently at the
University of East London.
 Symbols
The following is a list of the main symbols used in this book (with
their SI units, where appropriate). Various subscripts have also been
used, for example to denote particular locations. Note that some
symbols are inevitably used with different meanings in different
contexts, and so a number of alternatives are listed below. Readers
should be aware of this, and check the context for clarification.
a area (m2); distance (m); acceleration (m/s2)
b width (m); probability weighted moment of flows (m3/s)
c wave celerity (m/s)
d diameter (m); water depth (m)
f force (N); function; silt factor; frequency
g gravitational acceleration (≈ 9.81 m/s2)
h height (m); pressure head difference (m); head loss (m)
i rank in descending order
j rank in ascending order
k radius of gyration (m); roughness height (m); constant;
coefficient
m metacentric height (m); mass (kg)
n Manning's coefficient; exponent; number; wave steepness;
group velocity parameter
p pressure (N/m2)
q discharge per unit width (m2/s)
r radius (m); discount rate
s relative density; distance (m); sinuosity; standard deviation of
sample
t time (s); L-moment ratios
u velocity (m/s); parameter
v velocity (m/s)
w velocity (m/s)
x distance (m); variable
y distance (m); reduced variate; depth (m)
z elevation (m); vertical distance (m)
A area (m2)
B width (m); centre of buoyancy; benefit
C constant; centre of pressure; coefficient; cost
D diameter (m)
E specifie energy (J/N = m); elastic modulus (N/m2); wave energy
(J/m2)
F force (N); head loss coefficient (s2/m); annual probability of
non-exceedance
Fr Froude number
G centroid
H height (m); head (m); wave height (m)
I second moment of area (m4); inflow (m3/s)
J junction or node
K bulk modulus of elasticity (N/m2); coefficient; conveyance
(m3/s); circulation (m2/s)
L length (m); L-moment of flows (m3/s); wavelength (m)
M metacentre; mass (kg)
N number; rotational speed (rev/min)
P height of weir (m); wetted perimeter (m); power (W); annual
exceedance probability; wave power (W/m)
Q discharge (m3/s)
R resultant force (N); hydraulic radius (m); radius (m)
Re Reynolds number
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around like a butterfly this minute, most likely,” and the young man
smiled rather bitterly.
He had come from the city to make sure a girl was not in trouble, but
the thought of her enjoying herself made him uneasy.
From the village to the “Bend” was, as he had remarked, quite a
distance. In spite of brisk walking it was nearly dark before his
destination was reached.
“That must be the place,” he thought, quickening his steps as the
white buildings of the Whittaker farm loomed up in the dusk.
“What in the world shall I do, now I’m here?” he asked himself, as he
paused in front of the house. “If she’d only come out and take back
her words it would be all right. But goodness! she’s an awful spunky
little thing when she’s once under way, and it was pretty tough for
her. It’s mighty certain it’s not in her line, but I needn’t have been
quite so hard with her. Hang it all! what am I going to do now? What
in the Dickens made me come, anyway? Only because I’m such a
fool I couldn’t keep myself away.”
He stood leaning against a tree near one of the windows. The
summer air was very still. Only occasionally the birds stirred in their
nests above his head and murmured sleepily. Once some restless
animal pounded the floor of the barn.
Suddenly a low strain of music startled him. Did it come from one of
the open windows? Timidly soft it sounded, as though fearing to let
itself be heard—weird and sad.
The man out among the shadows trembled. “Can that be she? Has
she given in?”
The music grew more abandoned. In its sorrow it seemed to have
forgotten its timidity. The long notes sobbed and moaned, now and
then dying into quieter, more entreating tones. In their tears they
paused and prayed.
The listener was a musician, and the melody reached the depths of
his soul. Facing the window, he called in a broken voice, “Gertrude.”
The music instantly ceased. A glad cry rang out, “Herman! my
Herman!”
In a second, the man had vaulted the low sill of the parlor window.
He hurriedly glanced around the room. No musical instrument could
be seen, but a trembling form was steadying itself against the
casing.
“Gertie, poor little Gertie!”
A faint voice answered, “Is it true? Can it be you? O Herman!”
Again the music rang out. Triumphant peals this time, strain after
strain of tumultuous joy, clearer and clearer, stronger and stronger,
until the notes could hardly hold their fulness.
In the parlor Gertrude and Herman stood gazing into each other’s
startled eyes.
The wild, rapturous song paused; then breaking out in steadier
notes, even and rich, it gradually mellowed and hushed until it died
away in a whispered breath.
“It ended like a prayer of thanksgiving,” said he.
Gertrude caught her breath. “Hush!” She buried her face in her
hands, whispering, “It was. I see it all now. It must have been little
Chee,—there is no one else.” Lifting her head, she added, with a
strange, new light in her eyes, “Oh, Herman, she was thanking God
for answering her prayer. I believe it.” And then, half choked with
feeling, she told what she knew of her little Indian cousin.
 CHAPTER IX.
COUSIN GERTRUDE stole up-stairs. Chee had heard good-byes a
few moments before, and was hoping, yet fearing, she might find
her.
The child sat by the window removing her stockings. Daddy Joe’s
fiddle lay on the bed.
“Birdie, how could you? Oh, how could you?”
“I don’t know,” answered Chee, in an excited voice. “I tried not to
play out loud, but I got feeling sorrier and sorrier, and wishing He
would only let me help. And I forgot to play still, and then I heard a
man’s voice, and heard you answer, and I knew everything was all
right, and I was so happy I just snatched up Daddy’s fiddle and
played out my glad. I didn’t care who heard, for a minute; and, oh,
Cousin Gertrude, I felt it—I felt it.”
“Felt what, Childie?”
“Why, the music—way down in my heart, and all over me, just like I
did at the concert. I don’t know what to call it, but it’s something, and
I’ve tried to feel it for such a long time. And now I have, and it makes
me so happy—so happy, you can’t know. It just makes me glad all
through, and I feel like crying, too.”
“I am as happy as you, my own little Bird.”
Chee’s arms were around Gertrude’s neck, as she asked, “He did
hear, didn’t He?”
“Yes, my comfort, He did hear,” answered Gertrude, tears again in
her voice, “but you helped Him.”
“I helped Him?” echoed Chee, shaking her head almost sadly. “No, I
wanted to so much, but He didn’t need me.”
After a little, Gertrude said, “Listen, while I tell you how you helped—
you’ll see He did need you, after all.
“I love the violin, too—not as you do. I wanted to play because
people expected I would. I felt too proud to say that, after years of
study, I could never be a great player, and so I kept on working with
one teacher after another. Finally, Mr. Farrar, that is my Herman, told
me I had better not spend all my time and money for that any longer.
He said I had come to a place where I could never go much beyond,
and that I wanted to play more from pride than from love—just
because my parents had decided, when I was but a child, that music
was my first gift. I had found true what he said, but it made me angry
that he should dare to tell me. I said some words back. He retorted.
We’re both sorry now, but I was so vexed then, I said I would never
touch the violin again. My temper offended him, his also rose, and he
said he would not speak to me until I took back my words.
“It was the day I had set to come here. He was just going to the
woods for his vacation, but he felt so sad he could not go, and went
back home instead. Then one night he had a horrible dream that
troubled him, so he came to see if I was really safe and well. He
says that, down in his heart, he was hoping I was ready to take back
my words.
“While he was wishing so much I would come to him—he was out
under the trees, you know—he heard music. He thought for a
moment I was playing, and when he reached me and found out I
wasn’t—well, we were both so glad to be together again we forgot
which one was to blame. It seemed very silly to have quarrelled at all
when we understood and loved each other so. Anyway, now we are
only glad to be together again and forget everything. Can’t you see
how it might never have come right if you had not played when you
did?”
Chee made no answer, her heart was full.
“Of course,” she continued, “if he had stopped to think he would
have known it never could have been my playing,—he knows me so
well,—but he was anxious and didn’t realize. It seemed to him, he
said, the music must be mine, he wanted so much I should take back
my words.
“You did help, my Birdie, but you sha’n’t be left to sing alone any
longer. Oh!” a new light dawning, “now I know why you love to think
Opechee means a song-bird,” and she kissed the silent child with
new fondness.
“We are going to ride in the morning, my Herman and I, and when
we return perhaps we will have something to tell you. But oh, my
precious cousin, you can never, never know all you have done for
us.”
Chee only answered with a grave little shake of her head, “It wasn’t
me, ’twas only Our Father, and”—she added tenderly—“Daddy Joe’s
fiddle.”
 CHAPTER X.
IN the morning, as he had promised, Mr. Farrar came to take Cousin
Gertrude to drive.
“Chee! Chee! Nut-Brown Maiden, where are you?” Stepping to the
stairway, Gertrude called, more earnestly, “Birdie, I want you.”
A shy little face peered over the railing, “Please, Cousin Gertrude,
have I got to come down?”
“Why, Chee, wouldn’t you like to? There is some one here I want you
to see.”
“Yes, I know, but I’d rather look at him through the parlor blinds.”
Gertrude showed her disappointment. Chee watched her and
yielded, exclaiming, “Well, you must be awful proud of him to feel so
bad. I suppose I’d ought to come.”
Cousin Gertrude’s cheeks grew pinker, but she did not look
displeased; she only held out her hand to Chee. Wondering what
she might say to put the little girl more at ease, she led her to the
veranda.
A gentleman was standing by the carriage block, stroking the mane
of a horse. At sight of Chee he quickly removed his hat, as though to
some fine lady. “So this is little Chee,” said he, “our sweet singer,
only she doesn’t really sing, she plays. Good morning, my dear.”
“Good morning. I don’t know just what to call you yet. It doesn’t seem
quite kind to say ‘Mr. Farrar,’ when you are Cousin Gertrude’s best
friend, does it? She calls you ‘my Herman,’ but I’m afraid she’d
rather I wouldn’t say that, too.”
Mr. Farrar was pleased with this artlessness, characteristic of Chee,
so unlike any boldness, so like open confidence in one she
instinctively recognized to be worthy. Her voice at such times
seemed to say, “I’ll trust you, you may trust me.”
His eyes twinkled, but he said gravely, seeming not to notice
Gertrude, “Suppose you compromise, and say ‘our Herman.’”
Chee gave a perplexed glance toward Gertrude. Suddenly a smile
brightened her face, as she exclaimed, “Oh, I’ve got it. Why didn’t we
think before? S’pose I call you ‘Cousin Herman.’” She gave no
opportunity for dissent before adding, “It’s so much more
comfortable, now I know who you are.”
Cousin Gertrude appeared somewhat confused, but her friend patted
the little girl’s head approvingly, saying, “Quite right, little Chee, the
very thing, indeed—”
“But Birdie,” hastily interrupted Gertrude, “we haven’t thanked you
yet.” The child cast furtive glances toward the house. Her
companions changed the conversation. Their eyes, following hers,
had seen others, steel blue, peering through a lace curtain.
“Is Aunt Mean busy?” asked Gertrude.
After a discreet silence Aunt Mean appeared in the front doorway. A
brief introduction had scarcely passed before she said, aside to
Gertrude, in low but decidedly distinct tones, “A very likely young
man, my dear, very likely. You showed good taste. I persume there
ain’t a better looking in our neighborhood,” adding, reflectively, “It’s a
mighty serious business, this gittin’ a man.”
Chee wondered if Aunt Mean spoke from experience, and if it
wouldn’t have been a very serious matter indeed if Aunt Mean had
ever attempted to “git” any man other than her brother. During the
embarrassment that followed, Mr. Farrar found occasion to remark
that it was getting late, and Cousin Gertrude felt obliged to go for her
hat. But before entering the carriage she managed to whisper to
Chee, “Don’t undress when you go up-stairs to-night—we shall be
home early.”
What a long day it seemed to Chee! How anxiously she listened for
the sound of wheels on the driveway!
After all she watched in vain, for they had left the carriage before the
Bend was reached. The first she knew of their coming was a step on
the stairway—very soft, like stocking feet. She opened the door a
little. “Take off your shoes please, Chee, and come down into the
parlor awhile.”
It was fortunate that the bedrooms occupied by Miss Almeana and
her brother were at the extreme end of the house. Furthermore, both
were slightly deaf and extraordinarily sound sleepers.
In the parlor the cousins and Mr. Farrar gathered around Chee’s tin
lamp. “And so you have had no instructor but that minister,” he
began. “We saw him to-day, and, as he himself says, he doesn’t
know much about music. You can read notes, he tells me.”
“Easy music,” answered Chee, bashfully. The dreaded ordeal had
come—her secret was out.
“Well, that’s good, but how in the world did you learn to manage the
instrument? Who taught you to hold it, child?”
“I don’t know, Cousin Herman, I think perhaps I hold it just as Daddy
did, maybe I don’t, though. It’s so long since I’ve seen him I can’t be
sure.” This last was added a little wearily. “What has the way I hold
Daddy’s fiddle to do with Cousin Herman?” she wondered.
“It’s just as I say,” exclaimed Mr. Farrar, turning to Gertrude,
—“inherited talent. Probably the father was only a fair player, but
unless I’m stepping down a peg, the child’s a genius.” Chee
wondered if a genius was something nice, but, because she disliked
to show her ignorance, refrained from asking.
“Of course the child has run to weeds—it couldn’t be otherwise. I
must hear her play again, but at all odds she is a musician.” Then
turning suddenly to Chee, he asked, “Where is your violin, my dear?
You must play your best for me, then Gertrude shall tell you our
plan.”
Chee looked frightened, “Why, Cousin Herman, I couldn’t, she’d hear
me—I couldn’t for anything.”
“Who? Oh, I forgot. Well, we’ll have to fix it somehow. Where have
you been playing all this while? Up attic? What’s the harm now,
then?” So saying, Mr. Farrar proceeded to unlace his shoes.
Chee was a little tremulous over the undertaking, but Cousin
Herman was firm; so carrying her small lamp she led the way up the
front stairs, shielding the flickering flame with her hand. The light fell
full upon her excited face. Now and then she paused in the slow,
careful ascent to give whispered warning where a stair-riser might
creak—all so familiar to her. Mr. Farrar easily stepped over these
places, as did Chee, but, lest there should be any slight noise and
their stealthy journey to the attic be disclosed, he assisted Gertrude
over the treacherous places as indicated by their little Indian guide.
When the garret was reached, Gertrude seated herself on a trunk.
Mr. Farrar leaned against the chimney. Chee lingered at the railing,
anxiously listening.
 “SHE STOOD A MOMENT IN MEDITATION, THE VIOLIN
ALREADY UNDER HER CHIN”
“Chee!” they both impatiently called, at the same time glancing
curiously around.
She approached the familiar hiding-place, and very slowly drew out
the old violin box. Her cheeks were flushed, and her lips met in a
straight line. A brave determination burned in her eyes. She realized
in a vague way that much depended upon this effort, but with a
pleased, expectant look she deftly attuned the strings of her
instrument.
When this was done, she stood a moment in meditation, the violin
already under her chin, lightly tapping one foot with the bow.
It was a queer place in which to make one’s début,—that dusty
corner of the old loft. The tin lamp on a box lighted up the beams
hung with long drooping garlands of cobwebs. Not within reach of
the lamplight, or the pale moonshine coming through the curtainless
windows, huge black shadows gathered around. But the weirdness
of the aspect did not impress Chee; for her a more familiar spot
could not have been chosen. Oh, how many happy hours she had
spent in that dim little corner!
Soon her meditative position changed, she had come to a decision,
and began to play.
At first, embarrassment hindered her, but before many notes
trembled out on the stillness, she had forgotten everything except
her song.
It was only the old-fashioned air, “Annie Laurie.” The child must have
known the words, for her music told, even plainer than any words
could tell, the sentiment of the old-time refrain. Perhaps she had
guessed more of her listeners’ state of mind than they knew.
However this may have been, she had chosen well; while the song
lasted, her listeners forgot to be critics—they were only lovers.
The last strains had scarcely died away, when, close upon them,
followed the opening notes of “Nearer, My God, to Thee.” If the first
piece had been selected for her audience, this was for herself.
It was her favorite, the one she most often played. No
embarrassment now—with a far-away expression in her eyes, she
gave variation after variation of the familiar hymn. Suddenly the bow
paused—the note just begun was never finished. A slight noise came
from the stairway. After a moment of listening, Mr. Farrar crept to the
railing and looked down. Everything was still.
“It must have been only mice,” he said, but Chee was thoroughly
frightened. Nothing could induce her to continue. At the first sign of
alarm Daddy Joe’s fiddle had disappeared.
 CHAPTER XI.
AFTER Mr. Farrar had bade them good night and stolen out the front
doorway, Gertrude revealed to Chee their plan.
“We are going to have a concert,” she announced. “Mr. Green says
you haven’t had one here in town since last Christmas—and we’re
going to get people so interested the whole place will turn out.
Herman knows how, for he has gotten up several in the city.”
“Get up a concert, why, how can he?” asked Chee, incredulously.
“He will have a chorus. Every child in the village must be in that. And
he is going to send for some of his friends,—a man to play the harp,
and a lady to sing, and some others. And Herman, you know, plays
on the piano,—that’s his profession.”
“Oh!” said Chee, in a tone of new understanding.
“But wait, dear, the best part is coming. You are the best part of all.”
“Me?”
“Yes, Birdie, you. That’s what the whole thing is for. It’s Mr. Green’s
idea as much as Herman’s. It’s to be kept a surprise—I mean you
are—your name won’t appear on the programme at all.”
“My name on the programme! Cousin Gertrude, what do you mean?”
Poor Chee was thoroughly alarmed now.
“Mean? You dear little monkey, you. Why nothing at all but that you
and your violin are going to bring down the house.”
“Do you mean my secret has got to come out?”
“Of course. Isn’t it already out? More’s the pity it has been kept so
long.”
“But Aunt Mean! Why, Cousin Gertrude, what are you thinking of?
You know how she hates it, and calls it wicked.” Chee was almost in
tears.
“Dear Birdie, can’t you see that’s what the whole thing is for—to cure
Aunt Mean of her nonsense? You know how proud she is—we think
if we can only get her to the hall, that, after she has heard how
beautifully you play and how fine people think it is, she will give right
in.”
“I’m ’fraid she mightn’t—’sides, Cousin Gertrude, how could I ever
play at the hall? I never, never could do that.”
“Chee,” Gertrude’s face was earnest with pleading, “you love your
little violin, don’t you?”
“You know I love Daddy Joe’s fiddle best of everything in this world.”
“Well, if you knew that all you ever might learn about it depended
upon whether you played at the hall or not, couldn’t you do it?”
“Do you mean I could learn to make music like the man at the
concert long ago?” Chee spoke tremulously, and tears filled her eyes
as they looked up, so full of yearning entreaty.
“Yes, I think you could. If our concert was a success, so Aunt Mean
would let you go, we would take you to the city with us, where you
could study music to your heart’s content.”
“Go to the city and learn how to play all I want to!” Chee echoed.
“Can’t you get courage to play at the concert, now?” The child’s lips
compressed for a moment, then she answered in a whisper, “I don’t
believe she’d ever let me go, but I’ll try.”
“That’s a dear. Don’t you worry about Aunt Mean. Just wait until my
Nut-Brown Maiden thrills the house.”
Chee shook her head dubiously. “Aunt Mean never lets anything
make her feel as though she must fly straight to heaven. She can’t,”
said the little girl, translating Gertrude’s words into a language of her
own.
 CHAPTER XII.
BUSY weeks followed. Mr. Farrar frequently came and went—of
course to see Gertrude, but often their afternoon drive together was
only to and from the parsonage gate.
Finally the day for the concert was set. Artists from a distance were
engaged, and the children’s rehearsal commenced. Chesterfield life
had begun to lag. For the farmers it was less dull than for the
townsfolk, on account of the haying. But gossip was scarce, and the
news of a concert ahead was a genuine treat.
“Now I wouldn’t snap my fingers to hear the school youngsters holler,
but regular music fellers from the city—that’s something we don’t get
a chance at every day.”
The choir-leader made this remark with his usual nasal drawl. The
big bulletin of the coming event was being fastened against the wall
of the post-office. A little knot of men and boys had gathered around.
“Well, I don’t know as I could ’zactly afford to pay for city finery, but
as Sadie and Bill are both a-going to sing, mother ’n’ me cal’ated as
how we’d have to see they did right proper,” replied wee Sadie’s
grandpa.
“Stuff and nonsense,” growled the doctor, as he peered impatiently
at the postmistress, as though that meek little person was to blame
for the tardiness of a letter, “waste of time and money.” But the
doctor was a bachelor, and “took in the shows,” so the people said,
during his city trips. He was a gruff man, and though they had often
proved his kind-heartedness in a case of measles, or scarlet fever,
small urchins stepped aside with alacrity as he passed.
“Some on you is wrong, and some on you is maybe right,” said Bill
Saulswick, the village wag and philosopher, “but I know good tunes
when I hears ’um; just gimme the sort, be it fiddlin’, or singin’, or
drummin’,—that tells me why I’m who, and which I’m what, and when
I’m where, and I’ll sit there till the lights go out.”
While the villagers enjoyed the gossip, poor little Chee was in a whirl
of excitement. Her days seemed a series of ups and downs. At times
she could hardly wait for the great day to arrive, then in a moment
her heart would sink with terror, and she would hide herself for hours
until she had conquered the temptation to tell Cousin Gertrude she
must break her promise. But she came of a sturdy, resolute race,—to
falter would be worse than to fail, so she struggled with herself,
Gertrude claiming more and more of her time as the eventful day
drew nearer.
“It do beat all,” Aunt Mean would exclaim, as from the pantry window
she watched the girls go through the meadow lot, “what Gertrude
finds so entertainin’ about that child. She hasn’t eyes for nobody but
her, gaddin’ off every day, or ridin’ to town. I should most expect her
beau would make some kind of a row over it.”
For they did “gad off” every pleasant day, sometimes to the grove to
plan, but more often to the minister’s. There Chee would practise on
Mr. Green’s violin, while Gertrude read or talked with Mrs. Green.
A few days before the concert, Mr. Farrar met them that he might
hear, for the last time, Chee’s piece.
“Cousin Herman, if I play very well indeed, will you please say ‘yes’
to something?”
“That’s rather broad,” replied the gentleman; “suppose I can’t say
‘yes.’”
“Oh, but I know you can, just as well as not.”
“What is it about?”
Chee flushed a little, but answered, smilingly, “Clothes.”
“Ho, ho, that’s it! Well, I guess I can go it.”
Mr. Farrar considered himself an apt student of human nature. “It’s
only natural the child should have a little pride. It’s a good thing
Gertrude intends to see to a gown for her.” So said the young man to
himself, little doubting the exact nature of Chee’s request.
Satisfied with his promise to say “yes,” the little girl began to play her
chosen piece.
It had taken so long to make a selection from her old pieces, Cousin
Herman had bought several new ones—marvels of creation they
were to Chee. “Fixed up with the baby songs all in,” as she styled the
turns and trills. She had tried to play true to the notes, but it was a
hard task. To-day as she was conscientiously measuring them out,
he left the room a moment to speak with the minister. Returning, he
was surprised at the progress she had made in his absence.
Thinking his presence had hindered her, he stole softly to the door.
With a listening expression on her face, Chee was slowly pacing the
floor. The sheet of music lay on the table, face down. Undoubtedly,
as Mr. Farrar recalled the selection, it was the one she was playing—
but how changed! It seemed to have been but the framework for the
little artist to build upon.
She finished, and brushing the damp hair from her warm forehead,
looked up. Cousin Herman stood in the doorway. Chee glanced at
the neglected sheet of music with a guilty look. “I forgot, Cousin
Herman, I really did,” she explained, hurriedly.
“I guess you needn’t bother with the notes. I see you have the
melody in your head.” He tried to speak unconcernedly.
Chee was relieved. “I’m ever so glad. You don’t know how much
easier it will be.”
“After you have a teacher I suppose it will be necessary to tie you
down to accurate reading, but until then we won’t spoil your own
way.”
The minister came in just then, followed by his wife and Gertrude. “Is
the lesson over?” he asked.
“Cousin Herman has got to say ‘yes’ now.”
“Say ‘yes?’ What to?”
“That’s just what he hasn’t been told,” replied Mr. Farrar.
Going to him, Chee drew down his head, that she might whisper in
his ear. He looked perplexed. A private consultation followed, much
to the amusement of the others in the room.
At first he seemed hard to persuade, but finally yielded, and Chee
left him with a satisfied, “That’s a good Cousin Herman.”
“Gertrude,” he said at parting, “you needn’t order Chee’s dress; that
matter has already been attended to.”
Gertrude was not only astonished, she was disappointed, and
started to speak, then checked herself.
“After all, Herman must know what he is about. I’ll leave it to him.”
Gertrude had learned one lesson; it could not be forgotten soon.
 CHAPTER XIII.
THE day of the concert smilingly dawned.
At breakfast, Uncle Reuben surprised them by saying, “I’m going
over the river to-day, Mean. Don’t you want to go ’long, and stop to
George’s?”
Aunt Mean hesitated.
“You kin wear your best bunnet, so’s to stop to the concert on the
way back.”
“Reuben Whittaker! you’re not going to blow in a single cent on any
concert, and you know it. If Gertrude is foolish ’nough to go and take
Chee, that ain’t none of my business.” Aunt Mean looked toward her
nieces as she spoke, but the cousins’ eyes were fixed upon their
plates.
“Why, Mean,” said Uncle Reuben, mildly, “the minister says the hull
town is going to turn out. Even—”
“When did you see the minister?” interrupted his sister.
“Even Miss Flanigin sent for her sister to take keer of the young’ns,”
continued Uncle Reuben, without notice of any question. “I never
reckoned on our being behind the Flanigins.”
“Humph! those Flanigins,” was Aunt Mean’s only comment. But
Gertrude noticed, as they drove away, a bonnet with a purple poppy
had won the day.
“What could have possessed Uncle Reuben to take her off to-day, of
all days?” gleefully questioned Chee.
“Everything is turning out just right, that’s a fact,” replied her cousin.
A thought of half suspicion came to Chee. “You don’t suppose—”
she began, impressively, when Gertrude gave a little cry of pleasure,
saying, “If here doesn’t come Herman, the old dear, and the house
all to ourselves.”
What a day of it they had! With only her two good friends to watch
her, Chee forgot her usual reserve, and quite surprised them with her
happy chatter. Without the restraint of Aunt Mean’s practical
presence, some of the child’s queer fancies and odd expressions
crept into her talk. Until then, Gertrude had but half realized how truly
the little cousin’s nature was made up of the sensitive perceptions
and legendary instincts of her mother’s people.
Toward evening a thunder-storm threatened. The three were sitting
in Aunt Mean’s plant-room at the time.
“Grandfather is speaking,” said Chee, pleasantly, as the first distant
mutterings of thunder were heard. Cousin Herman looked up
questioningly.
“Who?” asked Gertrude.
“Grandfather—don’t you hear him?”
Just then a sharp clap rang through the air. Gertrude held her fingers
to her ears.
“That was M’dessun,” said Chee. Then noticing her companions’
bewildered glances, added, “It’s very easy to know his voice from
grandfather’s other sons’—he talks so angrily.”
The thunder still roared. Mr. Farrar closed the plant-room door. “I
guess we hadn’t better sit out here for awhile,” he said, gathering up
Gertrude’s books. “We can come back, it won’t last long, I think.”
“Don’t go! What made you shut the door? I love to hear them,” and
Chee stepped out into the rising storm fearlessly, as though the sky
had been all sunshine.
“Come in, Chee. Oh, do come in!” cried Gertrude, pale with alarm.
The child ran quickly, and throwing her arms around her cousin,
asked, “Why, are you sick? What is the matter? Don’t you like
Thunder? He is our grandfather, you know.”
“Is the girl crazy?” asked Mr. Farrar.