British birds

Among the feathered inhabitants of these islands there is scarcely a more familiar figure than that of the blackbird. Not only is he very generally diffused, and abundant in all suitable localities, but he is attached to human habitations—a bird of the garden, lawn, and shrubberies. His music is much to us, his beautiful mellow voice being unique in character in this country. But, more than his voice, his love of gardens and their produce, and whatever else serves to make him better known than most birds, is his blackness. Excepting the crows, he is the only British bird in the passerine order with a wholly black plumage; and his bright yellow bill increases the effect of the blackness, and, like a golden crown, gives him a strange beauty. Like his companion of the garden and shrubbery, the throstle, he is a skulker, and on the least alarm takes shelter under the thickest evergreen within reach. When disturbed from his hiding-place he rushes out impetuously with a great noise, making the place resound with his loud, clear, ringing and musical chuckle. But he is not so inveterate a skulker and in love with the shade as the other. You will sometimes find him on hillsides and open moors, or nesting in the scanty tufts of sea-campion on rocky islands where he has for only neighbour the rock-pipit. But above all situations he prefers the garden and well-planted ground, and in such places is most abundant. His food is the same as that of the throstle, and is taken in much the same way: he listens for the earthworms working near the surface of the ground, and hammers the snails against a stone to break the shells. In the fruit season he is very troublesome to the gardener, and greedily devours strawberries, cherries, currants, gooseberries and mulberries.

The song of the male begins early in spring, and is mostly heard during the early and late hours of the day. Its charm consists in the peculiar soft, rich, melodious quality of the sound, and the placid, leisurely manner in which it is delivered. But the manner varies greatly. ‘He sings in a quiet, leisurely way, as a great master should,’ says Richard Jefferies; unfortunately, the great master too often ends his performance unworthily with an unmusical note, or he collapses ignominiously at the close. John Burroughs, the American writer on birds, thus describes it: ‘It was the most leisurely strain I heard. Amid the loud, vivacious, work-a-day chorus it had an easeful dolce far niente effect.... It constantly seemed to me as if the bird was a learner, and had not yet mastered his art. The tone is fine, but the execution is laboured; the musician does not handle his instrument with deftness and confidence.’ Perhaps it may be said that, of all the most famed bird-songs, that of the blackbird is the least perfect and the most delightful.

The blackbird places his nest in the centre of a hedge or in an evergreen; it is formed of herbs, roots, and coarse grass, plastered inside with mud, and lined with fine dry grass. Four to six eggs are laid, light greenish blue in ground-colour, mottled with pale brown. Two or three, and sometimes as many as four, broods are reared in the season.

In the northern and more exposed parts of the country the blackbird has a partial migration, or shifts his quarters to more sheltered localities in the winter.

Ring-Ouzel.
Turdus torquatus.

Black, the feathers edged with greyish white; a large crescent-shaped, pure white spot on the throat. Length, eleven inches. Female: plumage greyer; the white mark narrower and less pure.

The ring-ouzel is sometimes called the ‘mountain blackbird,’ on account of his likeness to the common species. He is more a ground bird and less skulking in habit than the garden blackbird, but in appearance and motions strongly resembles him. On alighting he throws up and fans his tail in the same way, and is very clamorous when going to roost in the evening. His manner of feeding is much the same: hopping along the ground, frequently pausing to look up, and anon plunging his beak into the soil to draw out a grub or earthworm. He breaks the snail-shells in the same way, and is equally fond of fruits and berries, both wild and cultivated.

The ring-ouzel is a summer visitor to this country, arriving about the beginning of April, and spends the summer months and breeds in the higher, least-frequented parts of Dartmoor, in Devonshire, and the hilly part of Derbyshire, and many localities in the north of England. He is also found in various localities in Wales, Scotland, and Ireland. On their arrival the birds are seen for a short period in flocks, sometimes of considerable size, frequenting wet and marshy grounds. As soon as pairing takes place the flocks break up, and the birds distribute themselves over the mountains and high uplands. The song of the male is heard after the birds have paired and made choice of a breeding-site. It is a powerful song, delightful to listen to, partly for its own wild, glad character, but more on account of the savage beauty and solitariness of the nature amidst which it is usually heard. The nest is placed upon or close to the ground, beneath or in a tuft of heather; and occasionally is built in a low bush or tree. Outwardly it is made of coarse grass or twigs of heather, plastered inside with mud or clay, and lined with fine dry grass. The four or five eggs are bluish green, blotched with reddish brown.

Seebohm has the following spirited description of the ring-ouzel’s action in the presence of danger to its nest: ‘Approach their treasure, and, although you have no knowledge of its whereabouts, you speedily know that you are on sacred ground.... Something sweeps suddenly round your head, probably brushing your face. You look round, and there the ring-ouzel, perched close at hand, is eyeing you wrathfully, and ready to do battle, despite the odds, for the protection of her abode. Move, and the attack is resumed, this time with loud and dissonant cries that wake the solitudes of the barren moor around. Undauntedly the birds fly around you, pause for a moment on some mass of rock, or reel and tumble on the ground to decoy you away. As you approach still closer the anxiety of the female, if possible, increases; her cries, with those of her mate, disturb the birds around; the red grouse, startled, skims over the shoulder of the hill to find solitude; the moor-pipit chirps anxiously by; and the gay little stonechat flits uneasily from bush to bush. So long as you tarry near their treasure the birds will accompany you, and, by using every artifice, endeavour to allure or draw you away from its vicinity.’

Besides the six species described, there are three thrushes to be found in works on British birds: the black-throated thrush (Turdus atrigularis), a straggler from Central Siberia; White’s thrush (T. varius), from North-east Siberia; and the rock-thrush (Monticola saxatilis), from South Europe, a member of a group that connects the true thrushes (Turdus) with the wheatears (Saxicola).

Wheatear.
Saxicola œnanthe.

Upper parts bluish grey; wings and wing-coverts, centre and extremity of the tail, feet, bill, and area comprising the nostrils, eyes, and ears, black; base and lower portion of the side of the tail pure white; chin, forehead, stripe over the eye, and under parts, white. In autumn, upper parts reddish brown and tail feathers tipped with white. Female: upper parts ash-brown tinged with yellow; stripe over the eye dingy. Length, six and a half inches.

To those who are attracted to solitary, desert places, who find in wildness a charm superior to all others, the wheatear, conspicuous in black and white and bluish grey plumage, is a familiar figure—a pretty little wild friend; for he, too, prefers the uncultivated wastes, the vast downs, the mountain slopes, and the stony barren uplands. He is one of the earliest, if not the first, of the summer migrants to arrive on our shores. They appear early in March, sometimes at the end of February, on the south and east coasts, after crossing the Channel by night or during the early hours of the morning. They come in ‘rushes,’ at intervals of two or three days. In the morning they are seen in thousands; but after a few hours’ rest these travellers hurry on to their distant breeding-grounds, and perhaps for a day or two scarcely a bird will be visible; then another multitude appears, and so on, until the entire vast army has distributed itself far and wide over the British area, from the Sussex and Dorset coasts to the extreme North of Scotland and the Hebrides, the Orkneys, and Shetlands. The return migration begins early in August, and lasts until the middle of September. During this period the downs on the Sussex coast form a great camping-ground of the wheatears, and they are then taken in snares by the shepherds for the markets. Most of the birds taken are young; they are excessively fat, and are esteemed a great delicacy. The wheatear harvest has, however, now dwindled down to something very small compared with former times; it astonishes us to read in Pennant that a century and a quarter ago eighteen hundred dozens of these birds were annually taken in the neighbourhood of Eastbourne alone. The great decrease in the number of wheatears is no doubt due to the reclamation of waste lands, where this bird finds the conditions suited to it. To a variety of climates it is able to adapt itself: the vast area it inhabits includes almost the whole continent of Europe, from the hot south to the furthermost north; and westwards its range extends to Iceland, Greenland, and Labrador. But cultivation it cannot tolerate: when the plough comes the wheatear vanishes. Fortunately, there must always be waste and desert places—the scattered areas on mountain-sides, barren moors and downs, and rocky coasts, that cannot be made productive. In such spots the wheatear is an unfailing summer companion, and at once attracts attention by his appearance and motions. He is fond of perching on a rock, stone wall, or other elevation, but seldom alights on bushes and trees. He runs rapidly and freely on the ground, and, pausing at intervals and standing erect, moves his tail deliberately up and down. He flies readily, his rump and tail flashing white as he rises; and after going but a short distance, flying close to the ground, he alights again, and jerks and fans his tail two or three times. He feeds on grubs, small beetles, and other insects picked up from the ground, but also pursues and catches flying insects. He has a short, sharp call-note that sounds like two pieces of stone struck smartly together; hence the name of ‘stone-clatter,’ by which he is known in some localities. His short and simple song would attract little attention in groves and gardens; it is charming on account of the barren, silent situations it is heard in. It gives life to the solitude, and is a love-song, accompanied by pretty gestures and motions, and is frequently uttered as the bird hovers in the air.

The wheatear breeds in a cavity under a stone, or in a hole or crevice in a stone wall; also in cairns and in the cavities in peat-stacks, and occasionally in a disused rabbit-burrow or under a clod of earth. The nest is made of dry grass, loosely put together and slightly lined with some soft material—moss and rootlets, rabbits’ fur, horsehair, or wool, or feathers. From four to seven eggs are laid, pale greenish blue in colour, in some cases faintly marked with purplish specks at the large end.

The wheatear, owing to its wide distribution in this country, is known by a variety of local names in different districts; of these may be mentioned fallowchat, whitetail, stone-cracker, chack-bird, and clod-hopper.

Two other species of the genus Saxicola have been included in the list of British birds. These are the black-throated wheatear (Saxicola strapazina), of which a single specimen has been obtained, and the desert wheatear (Saxicola deserti), of which two or three specimens have been shot.

Whinchat.
Pratincola rubetra.

Upper parts dusky brown edged with reddish yellow; broad white stripe over the eye; throat and sides of neck white; neck and breast bright yellowish red; a large white spot on the wings and base of the tail; tip of the tail and the two middle feathers dusky brown; belly and flanks yellowish white. Female: colours duller; white spot on the wing smaller. Length, five inches and a quarter.

Of the three British species forming this group of two genera (Saxicola and Pratincola)—the fallowchat, stonechat, and whinchat—the last-named is the least striking, whether in appearance or habits. His modest plumage has neither brightness nor strongly contrasted colours; and although he is a frequenter of furze-grown commons, and named on this account furzechat, or whinchat, he is not, like the stonechat, restricted to them. He inhabits both wild and cultivated grounds, rough commons and waste lands, mountain-sides, and meadows and grass fields divided by hedgerows. He roosts, breeds, and obtains most of his food on the ground; but he loves to perch on bushes and low trees, and in most open situations where these grow the whinchat may be met with. On his arrival in April he feeds very much on the fallows, but later, in May, forsakes them for the neighbouring grass fields, where he makes his nest. He is commonly seen perched on the summit of a bush, low tree, or hedgerow, and, like the stonechat, he makes frequent short excursions in pursuit of flying insects. When approached he grows restless on his perch, fans his tail at intervals, and frequently utters his low call or alarm note; then flies away, to perch again at a short distance from the intruder, and flies and perches again, and finally doubles back and returns to the first spot. Besides the insects he catches flying, he feeds on small beetles, grubs, worms, &c., found about the roots of the grass. He is frequently seen fluttering close to the surface of the tall grass, picking small insects from the leaves, and is most active in seeking his food during the evening twilight.

The whinchat’s low warbling song, which has some resemblance to that of the redstart, is mostly heard in the love season, and is uttered both from its perch on the summit of a bush or tree, and when hovering in the air.

The nest is placed on the ground, usually in a cavity under the grass in a field, not far from a hedgerow, or under a thick furze-bush on commons, or at the roots of the heather on moors. It is formed of dry grass and moss, and lined with horsehair and rootlets. Four to six eggs are laid, greenish blue in colour, faintly marked with a zone of brown spots at the larger end.

Stonechat.
Pratincola rubicola.

Head, throat, bill, and legs black; sides of neck near the wing, tertial wing-coverts, and rump white; breast bright chestnut-red, paling to white on the belly; feathers of the back, wings, and tail black with reddish brown edges. Female: head and upper parts dusky brown, the feathers edged with yellowish red; throat black with small whitish and reddish spots; less white in the wings and tail; the red of the breast dull. Length, five and a quarter inches.

In his colouring and appearance, and to some extent in habits, the small stonechat is unlike any other bird. His strongly contrasted tints—black and white, and brown and chestnut-red—make him as conspicuous to the eye as the goldfinch or yellowhammer, and thus produce much the same effect as brilliancy of colour. The effect is increased by the custom the bird has of always perching on the topmost spray of a furze-bush on the open commons which it inhabits. Perched thus conspicuously on the summit, he sits erect and motionless, a small feathered harlequin, or like a painted image of a bird. But his disposition is a restless one; in a few moments he drops to the ground to pick up some small insect he has spied, or else dashes into the air after a passing fly or gnat, and then returns to his stand, or flits to another bush some yards away, where he reappears on its top, sitting erect and motionless as before. He is always anxious in the presence of a human being, flying restlessly from bush to bush, incessantly uttering his low, complaining note, which has a sound like that produced by striking two pebbles together; hence his name of stonechat. But it is a somewhat misleading name. He is not, like the wheatear, an inhabitant of barren stony places, but is seen chiefly on commons abounding in furze-bushes and thorns and brambles. He is seen in pairs, but is nowhere a numerous species, although found in most suitable localities throughout the three kingdoms. He is also to be met with throughout the year, but is much rarer in winter than in summer; and probably a great many individuals leave the country in autumn, while others seek more sheltered situations to winter in, or have a partial migration.

The stonechat has a slight, but sweet and very pleasing, song, uttered both when perched and when hovering in the air. Towards the end of March the nest is made, and is placed on or close to the ground, under a thick furze-bush; it is large, and carelessly made of dry grass, moss, heath and fibrous roots, lined with fine grass, horsehair, feathers, and sometimes with wool. Five or six eggs are laid, pale green or greenish blue in colour, and speckled at the large end with dull reddish brown. When the nest is approached the birds display the keenest distress.

Redstart.
Ruticilla phœnicurus.

Forehead white; head and upper part of back bluish grey; throat black; breast, tail-coverts, and tail, except the two middle feathers, which are brown, bright bay. Female: upper parts grey deeply tinged with red; throat and belly whitish; breast, flanks, and under tail-coverts pale red. Length, five and a quarter inches.

The redstart is found from April to the end of August throughout England and Wales, but is nowhere common; in Scotland and Ireland he is rare. He is, nevertheless, a better-known bird to people in the country districts than some of the migratory songsters which are more abundant. Not, however, on account of his song, which is inferior to most, but partly because he ‘affects neighbourhoods,’ as Gilbert White says, and partly on account of his pure and prettily contrasted colours—the white forehead, slaty grey upper parts, and chestnut rump and tail. The bright-coloured tail, which he flirts often as he flits before you, quickly attracts the eye. ‘Firetail’ is a common name for this bird. Redstart is Saxon for redtail. When seen perched upright and motionless he resembles the robin in figure, but does not seek his food so much on the ground, and in his restless disposition and quick, lively motions, he is like the warblers. A peculiarity of the redstart is his fondness for old walls; he is attracted by them to orchards and gardens, where he is most often seen, although always a shy bird in the presence of man.

Seebohm says: ‘As the wheatear is the tenant of the cairns, the rocks, and the ruins of the wilds, in like manner the redstart may be designated a bird of the ruins and the rocks in the lower, warmer, and more cultivated districts. You will find it in orchards and gardens, about old walls, and in the more open woods and shrubberies. Another favourite haunt of the redstart is old crumbling ruins, abbeys, and castles, on whose battlements and still massive walls, ivy-covered and moss-grown, it delights to sit and chant its short and monotonous song.’

The song consists of one short phrase, dropping to a low twitter at the end, which varies in different singers; but the opening note is always a beautiful expressive sound.

The redstart feeds on small beetles, caterpillars, spiders, and grubs, which it picks up in walls, trees, and bushes; and on gnats, flies, and butterflies, captured on the wing after the manner of the flycatcher.

The nest is almost always made in a hole, usually in an old stone wall, but occasionally in a hole in a tree, and sometimes in the cleft formed by two branches. It is loosely built with dry grass and moss, and lined with hair and feathers. The eggs are four to six in number; sometimes as many as eight, or even ten, are laid. They resemble the hedge-sparrow’s eggs, being of a uniform greenish blue colour.

The black redstart (Ruticilla titys) is a winter visitor in small numbers to the south-west of England, and has been known to breed on two or three occasions in this country. It is common throughout Central and Southern Europe, wintering in North Africa, and in its nesting and other habits and language resembles the redstart.

Between the redstarts (Ruticilla) and the redbreast (Erithacus), next to be described, the bluethroats (Cyanecula) are placed, of which two species have been recorded as casual visitors to this country—the white-spotted bluethroat (C. Wolfi), from Western Europe; and the red-spotted bluethroat (C. Suecica), a breeder in the arctic regions.

Redbreast.
Erithacus rubecula.

Upper parts olive-brown; forehead and breast red, the red edged with grey; belly white. Female: a trifle smaller than the male, and less bright in colour. Length, five inches and three-quarters.

Of man’s feathered favourites—the species he has thought proper to distinguish by a kindly protective sentiment—the redbreast probably ranks first, both on account of the degree of the feeling and its universality. The trustfulness of the familiar robin, especially in seasons of snow and frost, in coming about and entering our houses in quest of crumbs, is the principal cause of such a sentiment; but the highly attractive qualities of the bird have doubtless added strength to it. The bright red of his breast, intensified by contrast with the dark olive of the upper parts, gives him a rare beauty and distinction among our small songsters, which are mostly sober-coloured. Even more than beauty in colouring and form is a sweet voice; and here, where good singers are not few, the robin is among the best. Not only is he a fine singer, but in the almost voiceless autumn season, and in winter, when the other melodists that have not left our shores are silent, the robin still warbles his gushing, careless strain, varying his notes at every repetition, fresh and glad and brilliant as in the springtime. His song, indeed, never seems so sweet and impressive as in the silent and dreary season. For one thing, the absence of other bird-voices causes the robin’s to be more attentively listened to and better appreciated than at other times, just as we appreciate the nightingale best when he ‘sings darkling’—when there are no other strains to distract the attention. There is also the power of contrast—the bright, ringing lyric, a fountain of life and gladness, in the midst of a nature that suggests mournful analogies—autumnal decay and wintry death. There cannot be a doubt that the robin gives us all more pleasure with his music than any other singing-bird; we hear him all the year round and all our lives long, and his voice never palls on us. But those who have always heard it, for whom this sound has many endearing associations, might have some doubts about its intrinsic merits as a song—they might think that they esteem it chiefly because of the associations it has for them. In such a case one is glad to have an independent opinion—that, for instance, of an ‘intelligent foreigner,’ who has never heard this bird in his own country. Such an opinion we may find in John Burroughs, the American writer on birds; and it may well reassure those who love the robin’s song, but fear to put their favourite bird in the same category with the nightingale, blackcap, and garden-warbler. He writes: ‘The English robin is a better songster than I expected to find him. The poets and writers have not done him justice. He is of the royal line of the nightingale, and inherits some of the qualities of that famous bird. His favourite hour for singing is the gloaming, and I used to hear him the last of all. His song is peculiar, jerky, and spasmodic, but abounds in the purest and most piercing tones to be heard—piercing from their smoothness, intensity, and fulness of articulation; rapid and crowded at one moment, as if some barrier had suddenly given way, then as suddenly pausing, and scintillating at intervals bright, tapering shafts of sound. It stops and hesitates, and blurts out its notes like a stammerer; but when they do come, they are marvellously clear and pure. I have heard green hickory-branches thrown into a fierce blaze jet out the same fine, intense, musical sounds on the escape of the imprisoned vapours in the hard wood as characterise the robin’s song.’

The robin is an early breeder, and makes its nest beneath a hedge, or in a bank, or in a close bush not far above the ground; it is formed of dry grass, leaves, and moss, and lined with feathers. Six or seven eggs are laid, reddish white in ground-colour, clouded or blotched, and freckled with pale red. When the nest is approached the old birds express their anxiety by a very curious sound—a prolonged note so acute that, like the shrill note of some insects and the bat’s cry, it is inaudible to some persons. Two, and even three, broods are raised in the season.

At the end of summer the old birds disappear from their usual haunts to moult; and during this perhaps painful, and certainly dangerous, period, they remain secluded and unseen in the thickest foliage. When they reappear in new and brighter dress, restored to health and vigour, a fresh trial awaits them. The young they have hatched and fed and protected have now attained to maturity, and are in possession of their home. For it is the case that every pair of robins has a pretty well-defined area of ground which they regard as their own, jealously excluding from it other individuals of their own species. The young are forthwith driven out, often not without much fighting, which may last for many days, and in which the old bird is sometimes the loser. But in most cases the old robin reconquers his territory, and the young male, or males, if not killed, go otherwhere. And here we come upon an obscure point in the history of this familiar species; for what becomes of the young dispossessed birds is not yet known. It has been conjectured that they migrate, and that not many return from their wanderings beyond the sea. And it is not impossible to believe that the migratory instinct may exist in the young of a species, although obsolete at a later period of life.

Nightingale.
Daulias luscinia.

Upper plumage uniform brown tinged with chestnut; tail rufous; under parts greyish white; flanks pale ash. Length, six inches and a quarter.

The nightingale is the only songster that has been too much lauded, with the inevitable result that its melody, when first heard, causes disappointment, and even incredulity. More than once it has been my lot to call the attention of someone who had not previously heard it to its song, at the same time pointing out the bird; and after a few moments of listening, he or she has exclaimed, ‘That the nightingale! Why, it is only a common-looking little bird, and its song, that so much fuss is made about, is after all no better than that of any other little bird.’ And then it is perhaps added: ‘I don’t think the nightingale—if the bird you have shown me is the nightingale—sings so well as the thrush, or the blackbird, or the lark.’ The song is, nevertheless, exceedingly beautiful; its phrasing is more perfect than that of any other British melodist; and the voice has a combined strength, purity, and brilliance probably without a parallel. On account of these qualities, and of the fact that the song is frequently heard in the night-time, when other voices are silent, the nightingale was anciently selected as the highest example of a perfect singer; and, on the principle that to him that hath shall be given, it was credited with all the best qualities of all the other singers. It was the maker of ravishing music, and a type, just as the pelican was a type of parental affection and self-sacrifice, and the turtle-dove of conjugal fidelity. Only, when he actually hears it for the first time, the hearer makes the sad discovery that the bird he has for long years been listening to in fancy—the nightingale heard by the poet with an aching heart, and the wish that he, too, could fade with it into the forest dim—was a nightingale of the brain, a mythical bird, like the footless bird of paradise and the swan with a dying melody. Beautiful, nay, perfect, the song may be, but he misses from it that something of human feeling which makes the imperfect songs so enchanting—the overflowing gladness of the lark; the spirit of wildness of the blackcap; the airy, delicate tenderness of the willow-wren; and the serene happiness of the blackbird.

The nightingale arrives in this country about the middle of April, returning to the same localities year after year, apparently in the same numbers. It is scarcely to be doubted that the young birds that survive the perils of migration come back to the spot where they were hatched, since the species does not extend its range nor establish new colonies. It is most common in the southern counties of England, above all in Surrey, but rare in the western and northern counties, and in Scotland and Ireland it is unknown.

The nightingale so nearly resembles the robin in size, form, and manner that he might be taken for that bird but for his clear, brown colour. Like the robin, he feeds on the ground, seeking grubs and insects under the dead leaves, hopping rapidly by fits and starts, standing erect and motionless at intervals as if to listen, and occasionally throwing up his tail and lowering his head and wings, just as the robin does. He inhabits woods, coppices, rough bramble-grown commons, and unkept hedges, and loves best of all a thicket growing by the side of running water.

Two or three days after arriving he begins to sing, and continues in song until the middle, or a little past the middle, of June, when the young are hatched. In fine weather he sings at intervals throughout the day, but his music is more continuous and has a more beautiful effect in the evening. For an hour or two after sunset it is perhaps most perfect. In the dark he is silent, but if the moon shines he will continue singing for hours. That is to say, some birds will continue singing; as a rule, not half so many as may be heard during daylight.

The nest is nearly always placed on the ground beneath a hedge or close thicket; it is rather large, and composed of dry grass and dead leaves loosely put together, the inside lined with fine dead grass, rootlets, and vegetable down. The eggs are four or five in number, and of a uniform olive-brown colour.

During incubation and after the young are hatched the parent birds display the most intense solicitude when the nest is approached, and flit from bough to bough close to the intruder’s head, incessantly repeating two strangely different notes—one low, clear, and sorrowful, the other a harsh, grinding sound.

The return migration is in August and September.

Whitethroat.
Sylvia cinerea.

Head ash-grey tinged with brown; rest of upper parts reddish brown; wings dusky, the coverts edged with red; lower parts white faintly tinged with rose colour; tail dark brown, the outer feathers white on the tips and the outer web, the next only tipped with white. Female without the rosy tint on the breast. Length, five and a half inches.

The whitethroat, or greater whitethroat, as the name is sometimes written, is one of the commonest and best known of the soft-billed songsters that spend the summer and breed in our country. It inhabits all parts of the British Islands, excepting the most barren. Even to those who pay little attention to the small birds that come in their way the whitethroat is tolerably familiar, less on account of its song, which is in no way remarkable, than for the excited notes and actions of the bird, sometimes highly eccentric, which challenge attention. The whitethroat is, moreover, readily distinguishable from its colour—the reddish brown hue of its upper plumage and the unmistakable white throat, which give it a conspicuous individuality among the warblers. It inhabits the wood-side, the thickets, the rough common, but of all places prefers the thick hedge for a home. Shortly after the bird’s arrival, about the middle or near the end of April, he quickly makes his presence known to any person who walks along a hedgeside. The intruder is received with a startled, grating note, a sound expressive of surprise and displeasure, and, repeating this sound from time to time, the bird flits on before him, concealed from sight by the dense tangle he moves amidst. Presently, if not too much alarmed, he mounts to a twig on the summit of the hedge to pour out his song—a torrent of notes, uttered apparently in great excitement, with crest raised, the throat puffed out, and many odd gestures and motions. Sometimes he springs from his perch as if lifted by sheer rapture into the air, and ascends, singing, in a spiral, then drops swiftly back to his perch again. It is a peculiar song on account of its vehement style and the antics of the singer, more so when he flies on before a person walking, now singing, now moving farther ahead in a succession of wild jerks, then suddenly ducking down into the hedge. It is also a pleasing song in itself, although for pure melody the whitethroat does not rank very high among the greatly gifted birds of its family, or sub-family. If we include the nightingale and robin, it should be placed about the sixth on the list, the other singers that come before it being the willow-wren, blackcap, and garden warbler.

The nest of the whitethroat is a round, flimsy structure, formed of slender stalks of grass and herbs, and lined with horsehair, and is placed two or three feet above the ground, in the brambles and briers of the hedge, or in a large furze-bush. The five eggs are of a greenish white, speckled with olive, and sometimes blotched and marked with grey and light brown. One brood only is reared. Nettle-creeper is a common name for this bird, on account of its love of weeds, especially of nettles, no doubt because the small caterpillars it feeds on are most abundant on them. It is also fond of fruit, wild and cultivated, and visits the gardens near its haunts to feed on currants and raspberries.

Lesser Whitethroat.
Sylvia curruca.

Head, neck, and back smoke-grey; ear coverts almost black; wings brown edged with grey; tail dusky, outer feather as in the last species, the two next tipped with white; lower parts nearly pure white; feet lead colour. Length, five and a quarter inches.

The difference in size between this warbler and the one last described is very slight; still, there is a difference; and the descriptive epithet of lesser would also be a suitable one if applied in another sense. He is a less important bird. To begin with, he is much rarer, being only of local distribution in England and Scotland, and unknown in Ireland; in colouring he is more obscure; his trivial song has nothing in it to attract attention; he is shyer in habits, passes much of the time among the higher foliage of the trees he frequents, and is, consequently, not often seen.

He arrives in this country about or shortly after the middle of April, and is found in thickets and copses, and hedges in the neighbourhood of trees. Like most of the warblers, he is exceedingly restless, and moves incessantly among the leaves, picking up the aphides and minute caterpillars, and from time to time darts into the air to capture some small passing insect. Like the common whitethroat, he is also fond of ripe fruit, especially currants and raspberries. He is often on the wing, passing directly from place to place with an undulating flight and rapidly-beating wings. When singing he swells his throat out, and delivers his strain with considerable vigour; but his song is of the shortest, and is composed of one or two notes, hurriedly repeated two or three times without variation, and with scarcely any musical quality in it. No sooner is it finished than the bird is off again on his flitting rambles among the leaves and twigs; it is less like a song than an exclamation of pleasure—a cheerful call that bursts out from time to time.

The lesser whitethroat nests in orchards, coppices, thick hedgerows, bramble and furze bushes on commons, and among tangled vegetation overhanging streams, but in all cases the nest is placed in the midst of a dense mass of foliage. This is a somewhat loosely made and shallow structure, composed of dry grass-stems and small twigs, bound together with cobwebs and cocoons, and lined with fine rootlets and horsehair. Four or five eggs are laid, in ground-colour white or dull buff, blotched and speckled with greenish brown, with underlying markings of purplish grey.

Blackcap.
Sylvia atricapilla.

Head above the eyes jet-black, in the female chocolate-brown; upper parts, wings, and tail ash-grey slightly tinged with olive; throat and breast ash-grey; belly and under wing-coverts white. Length, five and a half inches.

This brilliant songster arrives in this country about the middle of April, in some years considerably earlier. It is found throughout England and Wales, and extends its range to Scotland and Ireland, only in lesser numbers. Though widely distributed it is rare, except in some districts in the southern and western counties of England. A person familiar with the ornithological literature of this country, but having little personal knowledge of the birds, who should go out to make acquaintance with the blackcap, would be surprised at its rarity. After much seeking, he would probably come to the conclusion that, speaking of warblers only, there are at least half a hundred willow-wrens, and perhaps twenty whitethroats, to one blackcap. Another curious point about the blackcap is that it appears to be almost unknown to the country people. It is a rare thing to find a rustic, man or boy, who knows it by that or any other name, though he may be quite familiar with the redstart and whitethroat. On these last two points I find that my experience coincides with that of John Burroughs, the American writer on bird life, in the accounts of his observations on British song-birds. There is a third point on which I also agree with him; this, however, is not a question of fact, but of opinion or of individual taste, and refers to the merit of the blackcap as a singer. His is a song which has always been very highly esteemed, and it has often been described as scarcely inferior to that of the nightingale. Gilbert White of Selborne described it as ‘a full, deep, sweet, loud, wild pipe; yet that strain is of short continuance, and his motions are desultory; but when that bird sits calmly and engages in song in earnest, he pours forth very sweet, but inward, melody, and expresses great variety of soft and gentle modulations, superior, perhaps, to those of any of our warblers, the nightingale excepted.’ After reading such a description it is a disappointment to hear the song. Nevertheless, it is very beautiful, and given out with immense energy, as the bird sits on a spray with throat puffed out, and moves its head, sometimes its whole body, vigorously from side to side. The song is a clear warble composed of about a dozen notes, rapidly enunciated, loud, free, of that sweet, pure quality characteristic of the melody of our best warblers. The strain is short, and repeated from time to time, the intervals often being filled by lower notes, sweet and varied—the ‘inward melody’ which White describes. Burroughs’s description of the song is as follows: ‘While sitting here I saw, and for the first time heard, the black-capped warbler. I recognised the note at once by its brightness and strength, and a faint suggestion in it of the nightingale’s; but it was disappointing: I had expected in it a nearer approach to its great rival.... It is a ringing, animated strain, but as a whole seemed to me crude, not smoothly and finely modulated. I could name several of our own birds that surpass it in pure music. Like its congeners, the garden warbler and the whitethroat, it sings with great emphasis and strength, but its song is silvern, not golden.’ This account of the blackcap’s song is interesting as coming from a foreigner who has paid great attention to the bird music of his own country, and it is on the whole a very good description; but I should not say that the blackcap’s strain is crude, however wild and irregular it may be; nor that there is in it even a faint suggestion of the nightingale’s.

In its active, restless habits this warbler resembles the other members of its group; but it exceeds them all in shyness. When approached it becomes silent, and conceals itself in the interior of the thicket. It frequents woods and orchards; also hedges and commons where large masses of furze and bramble are found, especially in the vicinity of trees. The nest is made of dry grass, lined with hair or fibrous roots, and is placed in the forked branches of a thick bush, three or four feet above the ground. The eggs, of which five or six are laid, are of a light reddish colour, mottled and blotched with darker red and reddish brown. They vary greatly, both in the depth of colour of the mottlings and in the pale ground-tints.

The blackcap lives on insects, which it often captures on the wing, and on fruits, and is fond of raspberries and currants. Its autumn migration is in September.

Garden Warbler.
Sylvia hortensis.

Upper plumage greyish brown tinged with olive; below the ear a patch of ash-grey; throat dull white; breast and flanks grey tinged with rust colour; rest of under parts dull white. Length, five and a quarter inches.

This warbler was first described as a British species by Willughby, more than two centuries ago, under the name of ‘prettichaps’; and Professor Newton, in a note to Yarrell’s account of it, says: ‘This name (prettichaps) seems never to have been in general use in England, or it would be readily adopted here.’ The old name of prettichaps, it may be mentioned, does not appear to be quite obsolete yet: I have heard it in Berkshire, where it was applied indiscriminately to the garden warbler and blackcap.

The garden warbler is not common anywhere. In Ireland it is scarcely known; in Scotland, Wales, and a large part of England it is very rare. It is most frequently to be met with in the southern counties, especially in Hampshire. Very curiously, Gilbert White did not know this warbler, which may now be heard singing any day in spring in the neighbourhood of Selborne village.

The garden warbler is often said to rank next to the blackcap as a melodist. The songs of these two species have a great resemblance; it is, indeed, rare to find two songsters, however closely allied, so much alike in their language. The garden warbler’s song is like an imitation of the blackcap’s, but is not so powerful and brilliant: some of its notes possess the same bright, pure, musical quality, but they are hurriedly delivered, shorter, more broken up, as it were. On the other hand, to compensate for its inferior character, there is more of it; the bird, sitting concealed among the clustering leaves, will sing by the hour, his rapid, warbled strain sometimes lasting for several minutes without a break.

The garden warbler is a late bird, seldom arriving in this country before the end of April. It builds a rather slight nest, in a bush near the ground, of dry grass and moss, lined with hair and fibrous roots. The eggs are five in number, and are dull white, sometimes greenish white, blotched and speckled with dull brown and grey.

The food of this warbler consists of small insects; and it is also fond of fruit and berries.

Six species of the genus Sylvia are included in books on British birds: the four already described, the orphean warbler (Sylvia orphea), an accidental visitor from Central and Southern Europe, and the barred warbler (Sylvia nisoria), from Central, South, and East Europe.

Furze-Wren, or Dartford Warbler.
Melizophilus undatus.

Upper parts greyish black; wing-coverts and feathers blackish brown; outer tail feathers broadly, and the rest narrowly, tipped with light brownish grey; under parts chestnut-brown; belly white. Tail long; wings very short. Length, five inches.