Full download Responsive Web Design with HTML5 and CSS3 Second Edition Ben Frain pdf docx

Full download ebooks at https://ebookmeta.com
Responsive Web Design with HTML5 and CSS3
Second Edition Ben Frain
For dowload this book click link below
https://ebookmeta.com/product/responsive-web-design-with-
html5-and-css3-second-edition-ben-frain/
OR CLICK BUTTON
DOWLOAD NOW

More products digital (pdf, epub, mobi) instant
download maybe you interests ...
The Modern Web Multi Device Web Development with HTML5
CSS3 and JavaScript 1st Edition Gasston Peter
https://ebookmeta.com/product/the-modern-web-multi-device-web-
development-with-html5-css3-and-javascript-1st-edition-gasston-
peter/
Responsive Web Design with AngularJS Sandeep Kumar
Patel
https://ebookmeta.com/product/responsive-web-design-with-
angularjs-sandeep-kumar-patel/
Web Development and Design Foundations with HTML5, 10th
edition Terry Felke-Morris
https://ebookmeta.com/product/web-development-and-design-
foundations-with-html5-10th-edition-terry-felke-morris/
Web Development and Design Foundations with HTML5, 10th
edition Terry Ann Felke-Morris
foundations-with-html5-10th-edition-terry-ann-felke-morris/

HTML5 and CSS3 1st Edition Brian P Hogan
https://ebookmeta.com/product/html5-and-css3-1st-edition-brian-p-
hogan-2/
HTML5 and CSS3 1st Edition Brian P Hogan
https://ebookmeta.com/product/html5-and-css3-1st-edition-brian-p-
hogan/
Web Development and Design Foundations with HTML5, 10/e
10th Edition Terry Felke-Morris
foundations-with-html5-10-e-10th-edition-terry-felke-morris/
Responsive Web Design by Example Beginner s Guide 2nd
Edition Thoriq Firdaus
https://ebookmeta.com/product/responsive-web-design-by-example-
beginner-s-guide-2nd-edition-thoriq-firdaus/
Responsible Responsive Design Scott Jehl
https://ebookmeta.com/product/responsible-responsive-design-
scott-jehl/

Table of Contents
Responsive Web Design with HTML5 and CSS3 Second Edition
Credits
About the Author
About the Reviewers
www.PacktPub.com
Support files, eBooks, discount offers, and more
Why subscribe?
Free access for Packt account holders
Preface
What this book covers
What you need for this book
Who this book is for
Conventions
Reader feedback
Customer support
Downloading the example code
Downloading the color images of this book
Errata
Piracy
Questions
1. The Essentials of Responsive Web Design
Beginning our quest
Defining responsive web design
Responsive web design in a nutshell
Setting browser support levels
A brief note on tooling and text editors
Our first responsive example
Our basic HTML file
Taming images
Enter media queries
Amending the example for a larger screen
The shortcomings of our example

Summary
2. Media Queries – Supporting Differing Viewports
Why media queries are needed for a responsive web design
Basic conditional logic in CSS
Media query syntax
Media queries in link tags
Combining media queries
Media queries with @import
Media queries in CSS
What can media queries test for?
Using media queries to alter a design
Any CSS can be wrapped in a media query
Media queries for HiDPI devices
Considerations for organizing and authoring media queries
Linking to different CSS files with media queries
The practicalities of separating media queries
Nesting media queries 'inline'
Combine media queries or write them where it suits?
The viewport meta tag
Media Queries Level 4
Scripting media feature
Interaction media features
The hover media feature
Environment media features
Summary
3. Fluid Layouts and Responsive Images
Converting a fixed pixel design to a fluid proportional layout
Why do we need Flexbox?
Inline block and whitespace
Floats
Table and table-cell
Introducing Flexbox
The bumpy path to Flexbox
Browser support for Flexbox
Leave prefixing to someone else
Choosing your auto-prefixing solution

Getting Flexy
Perfect vertically centered text
Offset items
Reverse the order of items
How about if we want them laid out vertically instead?
Column reverse
Different Flexbox layouts inside different media queries
Inline-flex
Flexbox alignment properties
The align-items property
The align-self property
Possible alignment values
The justify-content property
The flex property
Simple sticky footer
Changing source order
Wrapping up Flexbox
Responsive images
The intrinsic problem of responsive images
Simple resolution switching with srcset
Advanced switching with srcset and sizes
Did you say the browser 'might' pick one image over
another?
Art direction with the picture element
Facilitate new-fangled image formats
Summary
4. HTML5 for Responsive Web Designs
HTML5 markup – understood by all modern browsers
Starting an HTML5 page the right way
The doctype
The HTML tag and lang attribute
Specifying alternate languages
Character encoding
Easy-going HTML5
A sensible approach to HTML5 markup
All hail the mighty <a> tag

New semantic elements in HTML5
The <main> element
The <section> element
The <nav> element
The <article> element
The <aside> element
The <figure> and <figcaption> elements
The <details> and <summary> elements
The <header> element
The <footer> element
The <address> element
A note on h1-h6 elements
HTML5 text-level semantics
The <b> element
The <em> element
The <i> element
Obsolete HTML features
Putting HTML5 elements to use
Applying common sense to your element selection
WCAG and WAI-ARIA for more accessible web applications
WCAG
WAI-ARIA
Don't use roles for semantic elements
If you only remember one thing
Taking ARIA further
Embedding media in HTML5
Adding video and audio the HTML5 way
Fallback capability for older browsers
Audio and video tags work almost identically
Responsive HTML5 video and iFrames
A note about 'offline first'
Summary
5. CSS3 – Selectors, Typography, Color Modes, and New Features
No one knows it all
Anatomy of a CSS rule
Quick and useful CSS tricks

CSS multi-column layouts for responsive designs
Fixed columns, variable width
Adding a gap and column divider
Word wrapping
Text ellipsis
Creating horizontal scrolling panels
Facilitating feature forks in CSS
Feature queries
Combining conditionals
Modernizr
Feature detection with Modernizr
New CSS3 selectors and how to use them
CSS3 attribute selectors
CSS3 substring matching attribute selectors
The 'beginning with' substring matching attribute selector
The 'contains an instance of' substring matching attribute
selector
The 'ends with' substring matching attribute selector
Gotchas with attribute selection
Attribute selectors allow you to select IDs and classes that start
with numbers
CSS3 structural pseudo-classes
The :last-child selector
The nth-child selectors
Understanding what nth rules do
Breaking down the math
nth-based selection in responsive web designs
The negation (:not) selector
The empty (:empty) selector
Do something with the :first-line regardless of viewport
CSS custom properties and variables
CSS calc
CSS Level 4 selectors
The :has pseudo class
Responsive viewport-percentage lengths (vmax, vmin, vh, vw)
Web typography

The @font-face CSS rule
Implementing web fonts with @font-face
A note about custom @font-face typography and responsive
designs
New CSS3 color formats and alpha transparency
RGB color
HSL color
Alpha channels
Color manipulation with CSS Color Module Level 4
Summary
6. Stunning Aesthetics with CSS3
Text shadows with CSS3
Omitting the blur value when not needed
Multiple text shadows
Box shadows
An inset shadow
Multiple shadows
Understanding spread
Background gradients
The linear-gradient notation
Specifying gradient direction
Color stops
Adding fallback for older browsers
Radial background gradients
Breakdown of the radial-gradient syntax
Handy 'extent' keywords for responsive sizing
Repeating gradients
Background gradient patterns
Multiple background images
Background size
Background position
Background shorthand
High-resolution background images
CSS filters
Available CSS filters
Combining CSS filters

A warning on CSS performance
A note on CSS masks and clipping
Summary
7. Using SVGs for Resolution Independence
A brief history of SVG
The graphic that is a document
The root SVG element
Namespace
The title and desc tags
The defs tag
The g element
SVG shapes
SVG paths
Creating SVGs with popular image editing packages and services
Save time with SVG icon services
Inserting SVGs into your web pages
Using an img tag
Using an object tag
Insert an SVG as a background image
A brief aside on data URIs
Generating image sprites
Inserting an SVG inline
Re-using graphical objects from symbols
Inline SVGs allow different colors in different contexts
Make dual-tone icons that inherit the color of their parent
Re-using graphical objects from external sources
What you can do with each SVG insertion method (inline, object,
background-image, and img)
Browser schisms
Extra SVG capabilities and oddities
SMIL animation
The end of SMIL
Styling an SVG with an external style sheet
Styling an SVG with internal styles
SVG properties and values within CSS
Animate an SVG with CSS

Animating SVG with JavaScript
A simple example of animating an SVG with GreenSock
Optimising SVGs
Using SVGs as filters
A note on media queries inside SVGs
Implementation tips
Further resources
Summary
8. Transitions, Transformations, and Animations
What CSS3 transitions are and how we can use them
The properties of a transition
The transition shorthand property
Transition different properties over different periods of time
Understanding timing functions
Fun transitions for responsive websites
CSS3 2D transforms
Scale
Translate
Using translate to center absolutely positioned elements
Rotate
Skew
Matrix
Matrix transformations for cheats and dunces
The transform-origin property
CSS3 3D transformations
The transform3d property
Use transforms with progressive enhancement
Animating with CSS3
The animation-fill-mode property
Summary
9. Conquer Forms with HTML5 and CSS3
HTML5 forms
Understanding the component parts of HTML5 forms
placeholder
Styling the placeholder text
required

autofocus
autocomplete
List and the associated datalist element
HTML5 input types
email
number
min and max ranges
Changing the step increments
url
tel
search
pattern
color
Date and time inputs
date
month
week
time
range
How to polyfill non-supporting browsers
Styling HTML5 forms with CSS3
Indicating required fields
Creating a background fill effect
Summary
10. Approaching a Responsive Web Design
Get designs in the browser as soon as possible
Let the design dictate the breakpoints
View and use the design on real devices
Embracing progressive enhancement
Defining a browser support matrix
Functional parity, not aesthetic parity
Choosing the browsers to support
Tiering the user experience
Practically delivering experience tiers
Linking CSS breakpoints to JavaScript
Avoid CSS frameworks in production

Coding pragmatic solutions
When a link becomes a button
Use the simplest code possible
Hiding, showing, and loading content across viewports
Let CSS do the (visual) heavy lifting
Validators and linting tools
Performance
The next big things
Summary
Index

Responsive Web Design with
HTML5 and CSS3 Second
Edition

Responsive Web Design with
HTML5 and CSS3 Second
Edition
Copyright © 2015 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored
in a retrieval system, or transmitted in any form or by any means,
without the prior written permission of the publisher, except in the
case of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure
the accuracy of the information presented. However, the information
contained in this book is sold without warranty, either express or
implied. Neither the author, nor Packt Publishing, and its dealers and
distributors will be held liable for any damages caused or alleged to
be caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information
about all of the companies and products mentioned in this book by
the appropriate use of capitals. However, Packt Publishing cannot
guarantee the accuracy of this information.
First published: April 2012
Second edition: August 2015
Production reference: 2200815
Published by Packt Publishing Ltd.
Livery Place
35 Livery Street

Birmingham B3 2PB, UK.
ISBN 978-1-78439-893-4
www.packtpub.com

Credits
Author
Ben Frain
Reviewers
Esteban S. Abait
Christopher Scott Hernandez
Mauvis Ledford
Sophie Williams
Commissioning Editor
Edward Gordon
Acquisition Editors
Edward Gordon
Subho Gupta
Content Development Editor
Pooja Nair
Technical Editor
Ankita Thakur
Copy Editors
Rebecca Youé

Another random document with
no related content on Scribd:

The Project Gutenberg eBook of The lost race

This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.
Title: The lost race
Author: Robert E. Howard
Illustrator: G. O. Olinick
Release date: June 8, 2024 [eBook #73793]
Language: English
Original publication: Indianapolis, IN: Popular Fiction Publishing
Company, 1927
Credits: Greg Weeks, Mary Meehan and the Distributed Proofreaders
Canada Team at http://www.pgdpcanada.net
*** START OF THE PROJECT GUTENBERG EBOOK THE LOST RACE
***

The LOST RACE
By Robert E. Howard
[Transcriber's Note: This etext was produced from
Weird Tales January 1927.]

Cororuc glanced about him and hastened his pace. He was no
coward, but he did not like the place. Tall trees rose all about, their
sullen branches shutting out the sunlight. The dim trail led in and out
among them, sometimes skirting the edge of a ravine, where Cororuc
could gaze down at the tree-tops beneath. Occasionally, through a
rift in the forest, he could see away to the forbidding hills that hinted
of the ranges much farther to the west, that were the mountains of
Cornwall.
In those mountains the bandit chief, Buruc the Cruel, was supposed
to lurk, to descend upon such victims as might pass that way.
Cororuc shifted his grip on his spear and quickened his step. His
haste was due not only to the menace of the outlaws, but also to the
fact that he wished once more to be in his native land. He had been
on a secret mission to the wild Cornish tribesmen: and though he had
been more or less successful, he was impatient to be out of their
inhospitable country. It had been a long, wearisome trip, and he still
had nearly the whole of Britain to traverse. He threw a glance of
aversion about him. He longed for the pleasant woodlands, with
scampering deer, and chirping birds, to which he was used. He
longed for the tall white cliff, where the blue sea lapped merrily. The
forest through which he was passing seemed uninhabited. There
were no birds, no animals; nor had he seen a sign of a human
habitation.
His comrades still lingered at the savage court of the Cornish king,
enjoying his crude hospitality, in no hurry to be away. But Cororuc
was not content. So he had left them to follow at their leisure and
had set out alone.
Rather a fine figure of a man was Cororuc. Some six feet in height,
strongly though leanly built, he was, with gray eyes, a pure Briton but
not a pure Celt, his long yellow hair revealing, in him as in all his
race, a trace of Belgæ.

He was clad in skilfully dressed deerskin, for the Celts had not yet
perfected the coarse cloth which they made, and most of the race
preferred the hides of deer.
He was armed with a long bow of yew wood, made with no especial
skill but an efficient weapon; a long bronze broadsword, with a
buckskin sheath, a long bronze dagger and a small, round shield,
rimmed with a band of bronze and covered with tough buffalo hide. A
crude bronze helmet was on his head. Faint devices were painted in
woad on his arms and cheeks.
His beardless face was of the highest type of Briton, clear,
straightforward, the shrewd, practical determination of the Nordic
mingling with the reckless courage and dreamy artistry of the Celt.
So Cororuc trod the forest path, warily, ready to flee or fight, but
preferring to do neither just then.
The trail led away from the ravine, disappearing around a great tree.
And from the other side of the tree, Cororuc heard sounds of conflict.
Gliding warily forward, and wondering whether he should see some
of the elves and dwarfs that were reputed to haunt those woodlands,
he peered around the great tree.
A few feet from him he saw a strange tableau. Backed against
another tree stood a large wolf, at bay, blood trickling from gashes
about his shoulder; while before him, crouching for a spring, the
warrior saw a great panther. Cororuc wondered at the cause of the
battle. Not often the lords of the forest met in warfare. And he was
puzzled by the snarls of the great cat. Savage, blood-lusting, yet they
held a strange note of fear; and the beast seemed hesitant to spring
in.
Just why Cororuc chose to take the part of the wolf, he himself could
not have said. Doubtless it was just the reckless chivalry of the Celt
of him, an admiration for the dauntless attitude of the wolf against
his far more powerful foe. Be that as it may, Cororuc,
characteristically forgetting his bow and taking the more reckless
course, drew his sword and leaped in front of the panther. But he had

no chance to use it. The panther, whose nerve appeared to be
already somewhat shaken, uttered a startled screech and
disappeared among the trees so quickly that Cororuc wondered if he
had really seen a panther. He turned to the wolf, wondering if it
would leap upon him. It was watching him, half crouching; slowly it
stepped away from the tree, and still watching him, backed away a
few yards, then turned and made off with a strange shambling gait.
As the warrior watched it vanish into the forest, an uncanny feeling
came over him: he had seen many wolves, he had hunted them and
had been hunted by them, but he had never seen such a wolf before.
He hesitated and then walked warily after the wolf, following the
tracks that were plainly defined in the soft loam. He did not hasten,
being merely content to follow the tracks. After a short distance, he
stopped short, the hairs on his neck seeming to bristle. Only the
tracks of the hind feet showed: the wolf was walking erect.
He glanced about him. There was no sound; the forest was silent. He
felt an impulse to turn and put as much territory between him and
the mystery as possible, but his Celtic curiosity would not allow it. He
followed the trail. And then it ceased altogether. Beneath a great tree
the tracks vanished. Cororuc felt the cold sweat on his forehead.
What kind of place was that forest? Was he being led astray and
eluded by some inhuman, supernatural monster of the woodlands,
who sought to ensnare him? And Cororuc backed away, his sword
lifted, his courage not allowing him to run, but greatly desiring to do
so. And so he came again to the tree where he had first seen the
wolf. The trail he had followed led away from it in another direction
and Cororuc took it up, almost running in his haste to get out of the
vicinity of a wolf who walked on two legs and then vanished in the
air.
The trail wound about more tediously than ever, appearing and
disappearing within a dozen feet, but it was well for Cororuc that it
did, for thus he heard the voices of the men coming up the path

before they saw him. He took to a tall tree that branched over the
trail, lying close to the great bole, along a wide-flung branch.
Three men were coming down the forest path.
One was a big, burly fellow, vastly over six feet in height, with a long
red beard and a great mop of red hair. In contrast, his eyes were a
beady black. He was dressed in deer-skins, and armed with a great
sword.
Of the two others, one was a lanky, villainous-looking scoundrel, with
only one eye, and the other was a small, wizened man, who squinted
hideously with both beady eyes.
Cororuc knew them, by descriptions the Cornishmen had made
between curses, and it was in his excitement to get a better view of
the most villainous murderer in Britain that he slipped from the tree
branch and plunged to the ground directly between them.
He was up on the instant, his sword out. He could expect no mercy;
for he knew that the red-haired man was Buruc the Cruel, the
scourge of Cornwall.
The bandit chief bellowed a foul curse and whipped out his great
sword. He avoided the Briton's furious thrust by a swift backward
leap and then the battle was on. Buruc rushed the warrior from the
front, striving to beat him down by sheer weight; while the lanky,
one-eyed villain slipped around, trying to get behind him. The smaller
man had retreated to the edge of the forest. The fine art of the fence
was unknown to those early swordsmen. It was hack, slash, stab, the
full weight of the arm behind each blow. The terrific blows crashing
on his shield beat Cororuc to the ground, and the lanky, one-eyed
villain rushed in to finish him. Cororuc spun about without rising, cut
the bandit's legs from under him and stabbed him as he fell, then
threw himself to one side and to his feet, in time to avoid Buruc's
sword. Again, driving his shield up to catch the bandit's sword in
midair, he deflected it and whirled his own with all his power. Buruc's
head flew from his shoulders.

Then Cororuc, turning, saw the wizened bandit scurry into the forest.
He raced after him, but the fellow had disappeared among the trees.
Knowing the uselessness of attempting to pursue him, Cororuc
turned and raced down the trail. He did not know if there were more
bandits in that direction, but he did know that if he expected to get
out of the forest at all, he would have to do it swiftly. Without doubt
the villain who had escaped would have all the other bandits out, and
soon they would be beating the woodlands for him.
After running for some distance down the path and seeing no sign of
any enemy, he stopped and climbed into the topmost branches of a
tall tree, that towered above its fellows.
On all sides he seemed surrounded by a leafy ocean. To the west he
could see the hills he had avoided. To the north, far in the distance
other hills rose; to the south the forest ran, an unbroken sea. But to
the east, far away, he could barely see the line that marked the
thinning out of the forest into the fertile plains. Miles and miles away,
he knew not how many, but it meant more pleasant travel, villages of
men, people of his own race. He was surprized that he was able to
see that far, but the tree in which he stood was a giant of its kind.
Before he started to descend, he glanced about nearer at hand. He
could trace the faintly marked line of the trail he had been following,
running away into the east; and could make out other trails leading
into it, or away from it. Then a glint caught his eye. He fixed his gaze
on a glade some distance down the trail and saw, presently, a party
of men enter and vanish. Here and there, on every trail, he caught
glances of the glint of accouterments, the waving of foliage. So the
squinting villain had already roused the bandits. They were all around
him; he was virtually surrounded.
A faintly heard burst of savage yells, from back up the trail, startled
him. So, they had already thrown a cordon about the place of the
fight and had found him gone. Had he not fled swiftly, he would have
been caught. He was outside the cordon, but the bandits were all
about him. Swiftly he slipped from the tree and glided into the forest.

Then began the most exciting hunt Cororuc had ever engaged in; for
he was the hunted and men were the hunters. Gliding, slipping from
bush to bush and from tree to tree, now running swiftly, now
crouching in a covert, Cororuc fled, ever eastward; not daring to turn
back lest he be driven farther back into the forest. At times he was
forced to turn his course; in fact, he very seldom fled in a straight
course, yet always he managed to work farther eastward.
Sometimes he crouched in bushes or lay along some leafy branch,
and saw bandits pass so close to him that he could have touched
them. Once or twice they sighted him and he fled, bounding over
logs and bushes, darting in and out among the trees; and always he
eluded them.
It was in one of those headlong flights that he noticed he had
entered a defile of small hills, of which he had been unaware, and
looking back over his shoulder, saw that his pursuers had halted,
within full sight. Without pausing to ruminate on so strange a thing,
he darted around a great boulder, felt a vine or something catch his
foot, and was thrown headlong. Simultaneously something struck the
youth's head, knocking him senseless.
When Cororuc recovered his senses, he found that he was bound,
hand and foot. He was being borne along, over rough ground. He
looked about him. Men carried him on their shoulders, but such men
as he had never seen before. Scarce above four feet stood the tallest,
and they were small of build and very dark of complexion. Their eyes
were black; and most of them went stooped forward, as if from a
lifetime spent in crouching and hiding; peering furtively on all sides.
They were armed with small bows, arrows, spears and daggers, all
pointed, not with crudely worked bronze but with flint and obsidian,
of the finest workmanship. They were dressed in finely dressed hides
of rabbits and other small animals, and a kind of coarse cloth; and
many were tattooed from head to foot in ocher and woad. There

were perhaps twenty in all. What sort of men were they? Cororuc had
never seen the like.
They were going down a ravine, on both sides of which steep cliffs
rose. Presently they seemed to come to a blank wall, where the
ravine appeared to come to an abrupt stop. Here, at a word from one
who seemed to be in command, they set the Briton down, and
seizing hold of a large boulder, drew it to one side. A small cavern
was exposed, seeming to vanish away into the earth; then the
strange men picked up the Briton and moved forward.
Cororuc's hair bristled at thought of being borne into that forbidding-
looking cave. What manner of men were they? In all Britain and Alba,
in Cornwall or Ireland, Cororuc had never seen such men. Small
dwarfish men, who dwelt in the earth. Cold sweat broke out on the
youth's forehead. Surely they were the malevolent dwarfs of whom
the Cornish people had spoken, who dwelt in their caverns by day,
and by night sallied forth to steal and burn dwellings, even slaying if
the opportunity arose! You will hear of them, even today, if you
journey in Cornwall.
The men, or elves, if such they were, bore him into the cavern,
others entering and drawing the boulder back into place. For a
moment all was darkness, and then torches began to glow, away off.
And at a shout they moved on. Other men of the caves came
forward, with the torches.
Cororuc looked about him. The torches shed a vague glow over the
scene. Sometimes one, sometimes another wall of the cave showed
for an instant, and the Briton was vaguely aware that they were
covered with paintings, crudely done, yet with a certain skill his own
race could not equal. But always the roof remained unseen. Cororuc
knew that the seemingly small cavern had merged into a cave of
surprizing size. Through the vague light of the torches the strange
people moved, came and went, silently, like shadows of the dim past.
He felt the cords or thongs that bound his feet loosened. He was
lifted upright.

"Walk straight ahead," said a voice, speaking the language of his own
race, and he felt a spearpoint touch the back of his neck.
And straight ahead he walked, feeling his sandals scrape on the stone
floor of the cave, until they came to a place where the floor tilted
upward. The pitch was steep and the stone was so slippery that
Cororuc could not have climbed it alone. But his captors pushed him,
and pulled him, and he saw that long, strong vines were strung from
somewhere at the top.
Those the strange men seized, and bracing their feet against the
slippery ascent, went up swiftly. When their feet found level surface
again, the cave made a turn, and Cororuc blundered out into a firelit
scene that made him gasp.
The cave debouched into a cavern so vast as to be almost incredible.
The mighty walls swept up into a great arched roof that vanished in
the darkness. A level floor lay between, and through it flowed a river;
an underground river. From under one wall it flowed to vanish silently
under the other. An arched stone bridge, seemingly of natural make,
spanned the current.
All around the walls of the great cavern, which was roughly circular,
were smaller caves, and before each glowed a fire. Higher up were
other caves, regularly arranged, tier on tier. Surely human men could
not have built such a city.
In and out among the caves, on the level floor of the main cavern,
people were going about what seemed daily tasks. Men were talking
together and mending weapons, some were fishing from the river;
women were replenishing fires, preparing garments; and altogether it
might have been any other village in Britain, to judge from their
occupations. But it all struck Cororuc as extremely unreal; the strange
place, the small, silent people, going about their tasks, the river
flowing silently through it all.
Then they became aware of the prisoner and flocked about him.
There was none of the shouting, abuse and indignities, such as
savages usually heap on their captives, as the small men drew about

Cororuc, silently eyeing him with malevolent, wolfish stares. The
warrior shuddered, in spite of himself.
But his captors pushed through the throng, driving the Briton before
them. Close to the bank of the river, they stopped and drew away
from around him.
Two great fires leaped and flickered in front of him and there was
something between them. He focused his gaze and presently made
out the object. A high stone seat, like a throne; and in it seated an
aged man, with a long white beard, silent, motionless, but with black
eyes that gleamed like a wolf's.
The ancient was clothed in some kind of a single, flowing garment.
One clawlike hand rested on the seat near him, skinny, crooked
fingers, with talons like a hawk's. The other hand was hidden among
his garments.
The firelight danced and flickered; now the old man stood out clearly,
his hooked, beaklike nose and long beard thrown into bold relief; now
he seemed to recede until he was invisible to the gaze of the Briton,
except for his glittering eyes.
"Speak, Briton!" The words came suddenly, strong, clear, without a
hint of age. "Speak, what would ye say?"
Cororuc, taken aback, stammered and said, "Why, why—what
manner of people are you? Why have you taken me prisoner? Are
you elves?"
"We are Picts," was the stern reply.
"Picts!" Cororuc had heard tales of those ancient people from the
Gaelic Britons; some said that they still lurked in the hill of Siluria, but
——
"I have fought Picts in Caledonia," the Briton protested; "they are
short but massive and misshapen; not at all like you!"

"They are not true Picts," came the stern retort. "Look about you,
Briton," with a wave of an arm, "you see the remnants of a vanishing
race; a race that once ruled Britain from sea to sea."
The Briton stared, bewildered.
"Harken, Briton," the voice continued; "harken, barbarian, while I tell
to you the tale of the lost race."
The firelight flickered and danced, throwing vague reflections on the
towering walls and on the rushing, silent current.
The ancient's voice echoed through the mighty cavern.
"Our people came from the south. Over the islands, over the Inland
Sea. Over the snow-topped mountains, where some remained, to
stay any enemies who might follow. Down into the fertile plains we
came. Over all the land we spread. We became wealthy and
prosperous. Then two kings arose in the land, and he who
conquered, drove out the conquered. So many of us made boats and
set sail for the far-off cliffs that gleamed white in the sunlight. We
found a fair land with fertile plains. We found a race of red-haired
barbarians, who dwelt in caves. Mighty giants, of great bodies and
small minds.
"We built our huts of wattle. We tilled the soil. We cleared the forest.
We drove the red-haired giants back into the forest. Farther we drove
them back until at last they fled to the mountains of the west and the
mountains of the north. We were rich. We were prosperous.
"Then," and his voice thrilled with rage and hate, until it seemed to
reverberate through the cavern, "then the Celts came. From the isles
of the west, in their rude coracles they came. In the west they
landed, but they were not satisfied with the west. They marched
eastward and seized the fertile plains. We fought. They were
stronger. They were fierce fighters and they were armed with
weapons of bronze, whereas we had only weapons of flint.
"We were driven out. They enslaved us. They drove us into the
forest. Some of us fled into the mountains of the west. Many fled into

the mountains of the north. There they mingled with the red-haired
giants we drove out so long ago, and became a race of monstrous
dwarfs, losing all the arts of peace and gaining only the ability to
fight.
"But some of us swore that we would never leave the land we had
fought for. But the Celts pressed us. There were many, and more
came. So we took to caverns, to ravines, to caves. We, who had
always dwelt in huts that let in much light, who had always tilled the
soil, we learned to dwell like beasts, in caves where no sunlight ever
entered. Caves we found, of which this is the greatest; caves we
made.
"You, Briton," the voice became a shriek and a long arm was
outstretched in accusation, "you and your race! You have made a
free, prosperous nation into a race of earth-rats! We who never fled,
who dwelt in the air and the sunlight close by the sea where traders
came, we must flee like hunted beasts and burrow like moles! But at
night! Ah, then for our vengeance! Then we slip from our hiding
places, from our ravines and our caves, with torch and dagger! Look,
Briton!"
And following the gesture, Cororuc saw a rounded post of some kind
of very hard wood, set in a niche in the stone floor, close to the bank.
The floor about the niche was charred as if by old fires.
Cororuc stared, uncomprehending. Indeed, he understood little of
what had passed. That these people were even human, he was not
at all certain. He had heard so much of them as "little people." Tales
of their doings, their hatred of the race of man, and their
maliciousness flocked back to him. Little he knew that he was gazing
on one of the mysteries of the ages. That the tales which the ancient
Gaels told of the Picts, already warped, would become even more
warped from age to age, to result in tales of elves, dwarfs, trolls and
fairies, at first accepted and then rejected, entire, by the race of men,
just as the Neandertal monsters resulted in tales of goblins and
ogres. But of that Cororuc neither knew nor cared, and the ancient
was speaking again.

"There, there, Briton," exulted he, pointing to the post, "there you
shall pay! A scant payment for the debt your race owes mine, but to
the fullest of your extent."
The old man's exultation would have been fiendish, except for a
certain high purpose in his face. He was sincere. He believed that he
was only taking just vengeance; and he seemed like some great
patriot for a mighty, lost cause.
"But I am a Briton!" stammered Cororuc. "It was not my people who
drove your race into exile! They were Gaels, from Ireland. I am a
Briton and my race came from Gallia only a hundred years ago. We
conquered the Gaels and drove them into Erin, Wales and Caledonia,
even as they drove your race."
"No matter!" The ancient chief was on his feet. "A Celt is a Celt.
Briton, or Gael, it makes no difference. Had it not been Gael, it would
have been Briton. Every Celt who falls into our hands must pay, be it
warrior or woman, babe or king. Seize him and bind him to the post."
In an instant Cororuc was bound to the post, and he saw, with horror,
the Picts piling firewood about his feet.
"And when you are sufficiently burned, Briton," said the ancient, "this
dagger that has drunk the blood of an hundred Britons, shall quench
its thirst in yours."
"But never have I harmed a Pict!" Cororuc gasped, struggling with his
bonds.
"You pay, not for what you did, but for what your race has done,"
answered the ancient sternly. "Well do I remember the deeds of the
Celts when first they landed on Britain—the shrieks of the
slaughtered, the screams of ravished girls, the smokes of burning
villages, the plundering."
Cororuc felt his short neck-hairs bristle. When first the Celts landed
on Britain! That was over five hundred years ago!
And his Celtic curiosity would not let him keep still, even at the stake
with the Picts preparing to light firewood piled about him.

"You could not remember that. That was ages ago."
The ancient looked at him somberly. "And I am age-old. In my youth
I was a witch-finder, and an old woman witch cursed me as she
writhed at the stake. She said I should live until the last child of the
Pictish race had passed. That I should see the once mighty nation go
down into oblivion and then—and only then—should I follow it. For
she put upon me the curse of life everlasting."
Then his voice rose until it filled the cavern, "But the curse was
nothing. Words can do no harm, can do nothing, to a man. I live. An
hundred generations have I seen come and go, and yet another
hundred. What is time? The sun rises and sets, and another day has
passed into oblivion. Men watch the sun and set their lives by it. They
league themselves on every hand with time. They count the minutes
that race them into eternity. Man outlived the centuries ere he began
to reckon time. Time is man-made. Eternity is the work of the gods.
In this cavern there is no such thing as time. There are no stars, no
sun. Without is time; within is eternity. We count not time. Nothing
marks the speeding of the hours. The youths go forth. They see the
sun, the stars. They reckon time. And they pass. I was a young man
when I entered this cavern. I have never left it. As you reckon time, I
may have dwelt here a thousand years; or an hour. When not banded
by time, the soul, the mind, call it what you will, can conquer the
body. And the wise men of the race, in my youth, knew more than
the outer world will ever learn. When I feel that my body begins to
weaken, I take the magic draft, that is known only to me, of all the
world. It does not give immortality; that is the work of the mind
alone; but it rebuilds the body. The race of Picts vanish; they fade
like the snow on the mountain. And when the last is gone, this
dagger shall free me from the world." Then in a swift change of tone,
"Light the fagots!"
Cororuc's mind was fairly reeling. He did not in the least understand
what he had just heard. He was positive that he was going mad; and

what he saw the next minute assured him of it.
Through the throng came a wolf; and he knew that it was the wolf
whom he had rescued from the panther close by the ravine in the
forest!
Strange, how long ago and far away that seemed! Yes, it was the
same wolf. That same strange, shambling gait. Then the thing stood
erect and raised its front feet to its head. What nameless horror was
that?
"Then the thing stood erect and raised its front feet to its
head. What nameless horror was that?"

Then the wolf's head fell back, disclosing a man's face. The face of a
Pict; one of the first "werewolves." The man stepped out of the
wolfskin and strode forward, calling something. A Pict just starting to
light the wood about the Briton's feet drew back the torch and
hesitated.
The wolf-Pict stepped forward and began to speak to the chief, using
Celtic, evidently for the prisoner's benefit. (Cororuc was surprized to
hear so many speak his language, not reflecting upon its comparative
simplicity, and the ability of the Picts.)
"What is this?" asked the Pict who had played wolf. "A man is to be
burned who should not be!"
"How?" exclaimed the old man fiercely, clutching his long beard.
"Who are you to go against a custom of age-old antiquity?"
"I met a panther," answered the other, "and this Briton risked his life
to save mine. Shall a Pict show ingratitude?"
And as the ancient hesitated, evidently pulled one way by his
fanatical lust for revenge, and the other by his equally fierce racial
pride, the Pict burst into a wild flight of oration, carried on in his own
language. At last the ancient chief nodded.
"A Pict ever paid his debts," said he with impressive grandeur. "Never
a Pict forgets. Unbind him. No Celt shall ever say that a Pict showed
ingratitude."
Cororuc was released, and as, like a man in a daze, he tried to
stammer his thanks, the chief waved them aside.
"A Pict never forgets a foe, ever remembers a friendly deed," he
replied.
"Come," murmured his Pictish friend, tugging at the Celt's arm.
He led the way into a cave leading away from the main cavern. As
they went, Cororuc looked back, to see the ancient chief seated upon
his stone throne, his eyes gleaming as he seemed to gaze back
through the lost glories of the ages; on each hand the fires leaped
and flickered. A figure of grandeur, the king of a lost race.

On and on Cororuc's guide led him. And at last they emerged and the
Briton saw the starlit sky above him.
"In that way is a village of your tribesmen," said the Pict, pointing,
"where you will find a welcome until you wish to take up your journey
anew."
And he pressed gifts on the Celt; gifts of garments of cloth and finely
worked deerskin, beaded belts, a fine horn bow with arrows skilfully
tipped with obsidian. Gifts of food. His own weapons were returned
to him.
"But an instant," said the Briton, as the Pict turned to go. "I followed
your tracks in the forest. They vanished." There was a question in his
voice.
The Pict laughed softly, "I leaped into the branches of the tree. Had
you looked up, you would have seen me. If ever you wish a friend,
you will ever find one in Berula, chief among the Alban Picts."
He turned and vanished. And Cororuc strode through the moonlight
toward the Celtic village.

*** END OF THE PROJECT GUTENBERG EBOOK THE LOST RACE
***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S.
copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying
copyright royalties. Special rules, set forth in the General Terms of
Use part of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything
for copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and
Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund
from the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law
in the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name associated
with the work. You can easily comply with the terms of this
agreement by keeping this work in the same format with its attached
full Project Gutenberg™ License when you share it without charge
with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears,
or with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is derived
from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning
of this work.
1.E.4. Do not unlink or detach or remove the full Project
Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1

with active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information

about donations to the Project Gutenberg Literary Archive
Foundation.”
• You provide a full refund of any money paid by a user who
notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend
considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or

damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for
the “Right of Replacement or Refund” described in paragraph 1.F.3,
the Project Gutenberg Literary Archive Foundation, the owner of the
Project Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement, disclaim
all liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR
NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR
BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL
NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,
CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF
YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you
discover a defect in this electronic work within 90 days of receiving
it, you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or
entity that provided you with the defective work may elect to provide
a replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,

Full download Responsive Web Design with HTML5 and CSS3 Second Edition Ben Frain pdf docx

More Related Content

Similar to Full download Responsive Web Design with HTML5 and CSS3 Second Edition Ben Frain pdf docx (20)

Recently uploaded (20)

Full download Responsive Web Design with HTML5 and CSS3 Second Edition Ben Frain pdf docx