CARL VAN VECHTEN

One.

In the ample checked fur in the back and in the house, in the by next cloth and inner, in the chest, in mean wind.

One.

In the best most silk and water much, in the best most silk.

One.

In the best might last and wind that. In the best might last and wind in the best might last.

Ages, ages, all what sat.

One.

In the gold presently, in the gold presently unsuddenly and decapsized and dewalking.

In the gold coming in.

ONE.

One.

None in stable, none at ghosts, none in the latter spot.

ONE.

One.

An oil in a can, an oil and a vial with a thousand stems. An oil in a cup and a steel sofa.

One.

An oil in a cup and a woolen coin, a woolen card and a best satin.

A water house and a hut to speak, a water house and entirely water, water and water.

TWO.

Two.

A touching white shining sash and a touching white green undercoat and a touching white colored orange and a touching piece of elastic. A touching piece of elastic suddenly.

A touching white inlined ruddy hurry, a touching research in all may day. A touching research is an over show.

A touching expartition is in an example of work, a touching beat is in the best way.

A touching box is in a coach seat so that a touching box is on a coach seat so a touching box is on a coach seat, a touching box is on a coat seat, a touching box is on a coach seat.

A touching box is on the touching so helping held.

Two.

Any left in the touch is a scene, a scene. Any left in is left somehow.

Four.

Four.

Four between, four between and hacking. Four between and hacking.

Five.

Four between and a saddle, a kind of dim judge and a great big so colored dog.