a "bunch," there would be lots of fun and no little danger and excitement. The men would mount, and amid the encouraging comments of the on-lookers begin the task of subjugation. The bronco, as I have said, or should have said, nearly always looked around and up at his rider with an expression of countenance that was really benignant, and then he would roach his back, get his four feet bunched together, and await developments. These always came in a way productive of the best results; if the rider foolishly listened to the suggestions of his critics, he would almost always mistake this temporary paroxysm of docility for fear or lack of spirit.
And then would come the counsel, inspired by the Evil One himself: "Arrah, thin, shtick yer sphurs int' him, Moriarty."
This was just the kind of advice that best suited the "bronco's" feelings, because no sooner would the rowels strike his flanks than the air would seem to be filled with a mass of mane and tail rapidly revolving, and of hoofs flying out in defiance of all the laws of gravity, while a descendant of the kings of Ireland, describing a parabolic orbit through space, would shoot like a meteor into the sand, and plough it up with his chin and the usual elocutionary effects to be looked for under such circumstances.
Yes, those were happy, happy days—for the "broncos" and the by-standers.
There were three kinds of quarters at Old Camp Grant, and he who was reckless enough to make a choice of one passed the rest of his existence while at the post in growling at the better luck of the comrades who had selected either one of the others.
There was the adobe house, built originally for the kitchens of the post at the date of its first establishment, some time in 1857; there were the "jacal" sheds, built of upright logs, chinked with mud and roofed with smaller branches and more mud; and the tents, long since "condemned" and forgotten by the quartermaster to whom they had originally been invoiced. Each and all of these examples of the Renaissance style of architecture, as it found expression in the valley of the Gila, was provided with a "ramada" in front, which, at a small expenditure of labor in erecting a few additional upright saplings and cross-pieces, and a covering of cottonwood foliage, secured a modicum of shelter from the fierce shafts of a sun which shone not to warm and enlighten, but to enervate and kill.
