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Digital signal compression principles and practice 1st
Edition William A Pearlman Digital Instant Download
Author(s): WilliamAPearlman; Amir Said
ISBN(s): 9780521899826, 0521899826
Edition: 1
File Details: PDF, 7.16 MB
Year: 2011
Language: english

Digital Signal Compression
With clear and easy-to-understand explanations, this book covers the fundamental con-
cepts and coding methods of signal compression, while still retaining technical depth
and rigor. It contains a wealth of illustrations, step-by-step descriptions of algorithms,
examples, and practice problems, which make it an ideal textbook for senior under-
graduate and graduate students, as well as a useful self-study tool for researchers and
professionals.
Principles of lossless compression are covered, as are various entropy coding tech-
niques, including Huffman coding, arithmetic coding, run-length coding, and Lempel–
Ziv coding. Scalar and vector quantization, and their use in various lossy compression
systems, are thoroughly explained, and a full chapter is devoted to mathematical trans-
formations, including the Karhunen–Loeve transform, discrete cosine transform (DCT),
and wavelet transforms. Rate control is covered in detail, with several supporting
algorithms to show how to achieve it. State-of-the-art transform and subband/wavelet
image and video coding systems are explained, including JPEG2000, SPIHT, SBHP,
EZBC, and H.264/AVC. Also, unique to this book is a chapter on set partition coding
that sheds new light on SPIHT, SPECK, EZW, and related methods.
William A. Pearlman is a Professor Emeritus in the Electrical, Computer, and Systems
Engineering Department at the Rensselear Polytechnic Institute (RPI), where he has
been a faculty member since 1979. He has more than 35 years of experience in teaching
and researching in the fields of information theory, data compression, digital signal
processing, and digital communications theory, and he has written about 250 published
works in these fields. He is a Fellow of the IEEE and the SPIE, and he is the co-inventor
of two celebrated image compression algorithms: SPIHT and SPECK.
Amir Said is currently a Master Researcher at Hewlett-Packard Laboratories, where he
has worked since 1998. His research interests include multimedia communications,
coding and information theory, image and video compression, signal processing, and
optimization, and he has more than 100 publications and 20 patents in these fields.
He is co-inventor with Dr. Pearlman of the SPIHT image compression algorithm and
co-recipient, also with Dr. Pearlman, of two Best Paper Awards, one from the IEEE
Circuits and Systems Society and the other from the IEEE Signal Processing Society.

Digital Signal Compression
Principles and Practice
WILLIAM A. PEARLMAN
Rensselear Polytechnic Institute, New York
AMIR SAID
Hewlett-Packard Laboratories, Palo Alto, California

C A M B R I D G E U N I V E R S I T Y P R E S S
Cambridge, New York, Melbourne, Madrid, Cape Town,
Singapore, São Paulo, Delhi, Tokyo, Mexico City
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521899826
c
Cambridge University Press 2011
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.
First published 2011
Printed in the United Kingdom at the University Press, Cambridge
A catalog record for this publication is available from the British Library
Library of Congress Cataloging in Publication data
Pearlman, William A. (William Abraham)
Digital signal compression : principles and practice / William A. Pearlman, Amir Said.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-521-89982-6 (hardback)
1. Data compression (Telecommunication) 2. Signal processing – Digital techniques.
I. Said, Amir. II. Title.
TK5102.92.P43 2011
005.746–dc23
2011012972
ISBN 978-0-521-89982-6 Hardback
Additional resources for this publication at www.cambridge.org/9780521899826
Cambridge University Press has no responsibility for the persistence or
accuracy of URLs for external or third-party internet websites referred to
in this publication, and does not guarantee that any content on such
websites is, or will remain, accurate or appropriate.

To Eleanor
To Cello and Ricardo

Contents
Preface page xv
Acknowledgments xix
1 Motivation 1
1.1 The importance of compression 1
1.2 Data types 2
1.2.1 Symbolic information 2
1.2.2 Numerical information 3
1.3 Basic compression process 4
1.4 Compression applications 5
1.5 Design of compression methods 6
1.6 Multi-disciplinary aspect 8
Note 8
References 9
2 Book overview 10
2.1 Entropy and lossless coding 10
2.2 Quantization 11
2.3 Source transformations 12
2.3.1 Prediction 12
2.3.2 Transforms 13
2.4 Set partition coding 16
2.5 Coding systems 17
2.5.1 Performance criteria 17
2.5.2 Transform coding systems 18
2.5.3 Subband coding systems 19
2.6 Distributed source coding 20
Notes 21
References 22
3 Principles of lossless compression 23
3.1 Introduction 23
3.2 Lossless source coding and entropy 23

viii Contents
3.3 Variable length codes 28
3.3.1 Unique decodability and prefix-free codes 28
3.3.2 Construction of prefix-free codes 28
3.3.3 Kraft inequality 30
3.4 Optimality of prefix-free codes 32
3.4.1 Sources with memory 36
3.5 Concluding remarks 37
Problems 37
References 40
4 Entropy coding techniques 41
4.1 Introduction 41
4.2 Huffman codes 41
4.3 Shannon–Fano–Elias codes 47
4.3.1 SFE code examples 48
4.3.2 Decoding the SFE code 49
4.4 Arithmetic code 50
4.4.1 Preliminaries 50
4.4.2 Arithmetic encoding 51
4.4.3 Arithmetic decoding 53
4.5 Run-length codes 55
4.6 Alphabet partitioning: modified Huffman codes 57
4.6.1 Modified Huffman codes 57
4.6.2 Alphabet partitioning 58
4.7 Golomb code 60
4.8 Dictionary coding 63
4.8.1 The LZ78 code 64
4.8.2 The LZW algorithm 65
4.8.3 The LZ77 coding method 67
4.9 Summary remarks 72
Problems 72
Notes 75
References 76
5 Lossy compression of scalar sources 77
5.1 Introduction 77
5.2 Quantization 77
5.2.1 Scalar quantization 77
5.2.2 Uniform quantization 81
5.3 Non-uniform quantization 87
5.3.1 High rate approximations 89
5.4 Companding 91
5.4.1 Distortion at high rates 93

Contents ix
5.5 Entropy coding of quantizer outputs 95
5.5.1 Entropy coded quantizer characteristics 98
5.5.2 Null-zone quantization 99
5.6 Bounds on optimal performance 101
5.6.1 Rate-distortion theory 102
5.6.2 The Gish–Pierce bound 104
5.8 Appendix: quantization tables 107
Problems 109
Note 113
References 114
6 Coding of sources with memory 116
6.1 Introduction 116
6.2 Predictive coding 116
6.2.1 Optimal linear prediction 117
6.2.2 DPCM system description 120
6.2.3 DPCM coding error and gain 121
6.3 Vector coding 122
6.3.1 Optimal performance bounds 122
6.3.2 Vector (block) quantization (VQ) 129
6.3.3 Entropy constrained vector quantization 135
6.4 Tree-structured vector quantization 141
6.4.1 Variable length TSVQ coding 144
6.4.2 Pruned TSVQ 145
6.5 Tree and trellis codes 146
6.5.1 Trellis codes 148
6.5.2 Encoding and decoding of trellis codes 150
6.5.3 Codevector alphabets 152
6.6 Trellis coded quantization (TCQ) 152
6.6.1 Entropy-coded TCQ 154
6.6.2 Improving low-rate performance in TCQ 155
6.7 Search algorithms 155
6.7.1 M-algorithm 155
6.7.2 The Viterbi algorithm 158
Problems 160
Notes 163
References 164
7 Mathematical transformations 166
7.1.1 Transform coding gain 169

x Contents
7.2 The optimal Karhunen–Loeve transform 171
7.2.1 Optimal transform coding gain 172
7.3 Suboptimal transforms 172
7.3.1 The discrete Fourier transform 172
7.3.2 The discrete cosine transform 173
7.3.3 The Hadamard–Walsh transform 174
7.4 Lapped orthogonal transform 175
7.4.1 Example of calculation of transform coding gain 178
7.5 Transforms via filter banks 179
7.6 Two-dimensional transforms for images 181
7.7 Subband transforms 184
7.7.1 Introduction 184
7.7.2 Coding gain of subband transformation 187
7.7.3 Realizable perfect reconstruction filters 192
7.7.4 Orthogonal wavelet transform 194
7.7.5 Biorthogonal wavelet transform 199
7.7.6 Useful biorthogonal filters 204
7.7.7 The lifting scheme 205
7.7.8 Transforms with integer output 208
Problems 212
Notes 214
References 216
8 Rate control in transform coding systems 218
8.1 Rate allocation 218
8.1.1 Optimal rate allocation for known quantizer characteristics 220
8.1.2 Realizing the optimal rate allocation 223
8.1.3 Fixed level quantization 225
8.1.4 Optimal bit allocation for arbitrary set of quantizers 226
8.1.5 Building up to optimal rates for arbitrary quantizers 228
8.1.6 Transform coding gain 230
8.2 Subband rate allocation 233
8.2.1 Practical issues 237
8.2.2 Subband coding gain 239
8.3 Algorithms for rate allocation to subbands 241
8.4 Conclusions 242
Problems 242
Notes 243
References 244
9 Transform coding systems 245

Contents xi
9.2 Application of source transformations 245
9.2.1 Model-based image transform coding 246
9.2.2 Encoding transform coefficients 249
9.3 The JPEG standard 251
9.3.1 The JPEG baseline system 252
9.3.2 Detailed example of JPEG standard method 256
9.4 Advanced image transform coding: H.264/AVC intra coding 259
Problems 262
Notes 263
References 264
10 Set partition coding 265
10.1 Principles 265
10.1.1 Partitioning data according to value 267
10.1.2 Forming partitions recursively: square blocks 270
10.1.3 Binary splitting 274
10.1.4 One-dimensional signals 276
10.2 Tree-structured sets 276
10.2.1 A different wavelet transform partition 279
10.2.2 Data-dependent thresholds 282
10.2.3 Adaptive partitions 283
10.3 Progressive transmission and bitplane coding 285
10.4 Applications to image transform coding 286
10.4.1 Block partition coding and amplitude and group
partitioning (AGP) 287
10.4.2 Enhancements via entropy coding 289
10.4.3 Traversing the blocks 289
10.4.4 Embedded block coding of image wavelet transforms 291
10.4.5 A SPECK coding example 291
10.4.6 Embedded tree-based image wavelet transform coding 297
10.4.7 A SPIHT coding example 299
10.4.8 Embedded zerotree wavelet (EZW) coding 302
10.4.9 Group testing for image wavelet coding 306
10.5 Conclusion 306
Problems 307
Notes 310
References 311
11 Subband/wavelet coding systems 313
11.1 Wavelet transform coding systems 313
11.2 Generic wavelet-based coding systems 317
11.3 Compression methods in wavelet-based systems 318

xii Contents
11.4 Block-based wavelet transform set partition coding 320
11.4.1 Progressive resolution coding 321
11.4.2 Quality-progressive coding 323
11.4.3 Octave band partitioning 326
11.4.4 Direct bit-embedded coding methods 328
11.4.5 Lossless coding of quantizer levels with adaptive
thresholds 329
11.4.6 Tree-block coding 331
11.4.7 Coding of subband subblocks 332
11.4.8 Coding the initial thresholds 333
11.4.9 The SBHP method 335
11.4.10 JPEG2000 coding 336
11.4.11 The embedded zero-block coder (EZBC) 343
11.5 Tree-based wavelet transform coding systems 347
11.5.1 Fully scalable SPIHT 347
11.5.2 Resolution scalable SPIHT 349
11.5.3 Block-oriented SPIHT coding 352
11.6 Rate control for embedded block coders 354
11.7 Conclusion 356
Notes 357
References 359
12 Methods for lossless compression of images 361
12.2 Lossless predictive coding 362
12.2.1 Old JPEG standard for lossless image
compression 362
12.3 State-of-the-art lossless image coding and JPEG-LS 364
12.3.1 The predictor 364
12.3.2 The context 365
12.3.3 Golomb–Rice coding 366
12.3.4 Bias cancellation 366
12.3.5 Run mode 367
12.3.6 Near-lossless mode 368
12.3.7 Remarks 368
12.4 Multi-resolution methods 368
Problems 370
Notes 371
References 372
13 Color and multi-component image and video coding 373

Contents xiii
13.2 Color image representation 374
13.2.1 Chrominance subsampling 376
13.2.2 Principal component space 377
13.3 Color image coding 378
13.3.1 Transform coding and JPEG 378
13.3.2 Wavelet transform systems 380
13.4 Multi-component image coding 383
13.4.1 JPEG2000 383
13.4.2 Three-dimensional wavelet transform coding 384
13.4.3 Video coding 389
Notes 395
References 396
14 Distributed source coding 398
14.1 Slepian–Wolf coding for lossless compression 398
14.1.1 Practical Slepian–Wolf coding 400
14.2 Wyner–Ziv coding for lossy compression 404
14.2.1 Scalar Wyner–Ziv coding 406
14.2.2 Probability of successful reconstruction 407
Problems 411
Notes 412
References 413
Index 414

Preface
This book is an outgrowth of a graduate level course taught for several years at Rensse-
laer Polytechnic Institute (RPI). When the course started in the early 1990s, there were
only two textbooks available that taught signal compression, Jayant and Noll1 and Ger-
sho and Gray.2 Certainly these are excellent textbooks and valuable references, but they
did not teach some material considered to be necessary at that time, so the textbooks
were supplemented with handwritten notes where needed. Eventually, these notes grew
to many pages, as the reliance on published textbooks diminished. The lecture notes
remained the primary source even after the publication of the excellent book by Say-
ood,3 which served as a supplement and a source of some problems. While the Sayood
book was up to date, well written, and authoritative, it was written to be accessible to
undergraduate students, so lacked the depth suitable for graduate students wanting to
do research or practice in the field. The book at hand teaches the fundamental ideas of
signal compression at a level that both graduate students and advanced undergraduate
students can approach with confidence and understanding. The book is also intended to
be a useful resource to the practicing engineer or computer scientist in the field. For that
purpose and also to aid understanding, the 40 algorithms listed under Algorithms in the
Index are not only fully explained in the text, but also are set out step-by-step in special
algorithm format environments.
This book contains far more material than can be taught in a course of one semester.
As it was being written, certain subjects came to light that begged for embellishment and
others arose that were needed to keep pace with developments in the field. One example
of this additional material, which does not appear in any other textbook, is Chapter 14 on
“Distributed source coding,” a subject which has received considerable attention lately.
The intent was to present the fundamental ideas there, so that the student can understand
and put into practice the various methods being proposed that use this technique.
The two longest chapters in the book are Chapters 10 and 11, entitled “Set parti-
tion coding” and “Subband/wavelet coding systems,” respectively. They were actually
the first chapters written and were published previously as a monograph in two parts.4
The versions appearing here are updated with some minor errors corrected. Being the
inventors of SPIHT and proponents and pioneers of set partition coding, we felt that
its fundamental principles were not expounded in the technical literature. Considering
the great interest in SPIHT, as evidenced by the thousands of inquiries received by
us over the years since its origin in 1995 (at this writing 94,200 hits on Google), we

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the last!
To Ames Ulmer.—The latest record at hand is December, 1895. On that date
the President of Switzerland was Joseph Zemp. The official residence is at
Berne.—F. S. Davis: Order Si Klegg and His Pard from any bookseller. If you
have none, write to The Baker and Taylor Company, New York.—Janey Crowe,
13 Birch Crescent, Rochester, N. Y., plies us with a sheet full of questions,
which we are glad to answer as fully as we are able: 1. Elvirton Wright is the
author of Majoribanks, and, we presume, also of the book you mention. Write
to the Congregational Publishing House, Boston, for fuller information. 2. The
other author whom you name has written many books. L. F. Meade was her
former name. Now it is Mrs. E. T. T. Smith. Her publishers are Lippincotts,
Cassells, and half a dozen others. 3. Some information is wanted about these
authors—where they live, and some interesting facts in their lives. Can any
readers supply us with morsels containing such information? 4. There are to
be Round Table prizes this year for puzzles, stories, and amateur photographs.
The puzzle prizes are to be $40 each, and there are to be five contests. The
story prizes are worth $75 for the first, $50 for the second, and $25 for the
third, and the photograph prizes amount in all to $125. Full particulars with
conditions will be announced very soon. 5. No Round Table reunion has been
planned.

Any questions in regard to photograph matters will be willingly answered
by the Editor of this column, and we should be glad to hear from any of
our club who can make helpful suggestions.
OUR ANNUAL PRIZE CONTEST.
We have received many queries since the appearance of the Prize Offers as to
the exact nature of the photographic prize competition, showing that our
amateurs were looking forward to and preparing for the yearly event of the
club. Each person should read the announcement of the Prize Offers, and the
rules governing the contest, in the October 27 issue of the Round Table.
There are two contests, both of which are open to the members of the
Camera Club, and we hope each member of the Camera Club will send
pictures to both competitions. The very fine photographs which were
submitted last year showed that the members are all striving to do good
work. The improvement in the style of pictures and the subjects chosen was
much better last year than in any previous year, and we expect still better
work submitted in this contest. All contestants must be subscribers to Harper's
Round Table themselves, or take the paper in their family.
There is no restriction as to the number of prints one may send, but in
sending prints mark each print with name, address, and class for which the
picture is designed. The best place to mark a picture is on the back of the
card-mount.
Any printing process may be used except the blue print. While many amateurs
use the glossy papers, the preference is for the matt surface, and a bromide
or platinum print is the paper generally chosen by first-class amateurs. If one
does not know how to use these papers, or cannot procure them, try to make
the best print possible on the paper which is chosen. The printing and
mounting of a picture have a great deal to do with its attractiveness, and the
mechanical work in a photograph is always considered when judging pictures.

Several queries were received last year asking if a picture taken with a 4-by-5
camera, and trimmed down so that it was a little less than 4 by 5, would be
admitted to the competition. The answer was that a picture might be trimmed
a little, but not enough to bring it down to a size perhaps 3 by 4, that would
make it too small to be eligible.
Each competitor in the Camera Club may send as many pictures as he pleases
to both contests, and he may compete in each class in the two competitions.
This gives the members of the club the advantage over non-members, who
can only compete in the Open to All contest.
We have received many additions to our club during the last year, and shall
expect to see some fine work. Do not delay, but send in your pictures as early
as possible. The names of the prize-winners will be announced in the January,
probably the New-Year's, number of the Round Table.
Her graceful presence, everywhere
Suggests the fragrance, faint and
rare
With which the sweetest flowers
allure:
To such a dainty gown and face
The touch of soap seems out of
place—
Save Ivory, which itself is pure.
Copyright, 1896, by The Procter Gamble Co., Cin'ti.

Football and Other Sports
A PRIMER OF COLLEGE FOOTBALL
By W. H. Lewis. Illustrated from Instantaneous Photographs and with
Diagrams. 16mo, Paper, 75 cents.
There is probably no other man in America who has had as much football
experience or who knows more about the game than Mr. Lewis.... Of
value not only to beginners, but to any one who wishes to learn more
about football.... We heartily recommend it as the best practical guide to
football we have yet discovered.—Harvard Crimson, Cambridge.
Written by a man who has a most thorough knowledge of the game, and
is in language any novice may understand.—U. of M. Daily, University of
Michigan.
Will be read with enthusiasm by countless thousands of boys who have
found previous works on the subject too advanced and too technical for
beginners.—Evangelist, N. Y.
Beginners will be very grateful for the gift, for no better book than this of
Mr. Lewis's could be placed in their hands.—Saturday Evening Gazette,
Boston.
NEW EDITION OF
CAMP'S AMERICAN FOOTBALL
By Walter Camp. New and Enlarged Edition. 16mo, Cloth, $1.25.
The progress of the sport of football in this country, and a corresponding
growth of inquiry as to the methods adopted by experienced teams, have
prompted the publication of an enlarged edition of this book. Should any
of the suggestions herein contained conduce to the further popularity of
the game, the object of the writer will be attained.—Author's Preface.

BY THE SAME AUTHOR:
FOOTBALL FACTS AND FIGURES. Post 8vo, Paper, 75 cents.
A SPORTING PILGRIMAGE
Riding to Hounds, Golf, Rowing, Football, Club and University Athletics.
Studies in English Sport, Past and Present. By Caspar Whitney. Copiously
Illustrated. 8vo, Cloth, $3.50.
The work is certainly one of the most valuable contributions to athletic
literature that has been published for many a day.—Chicago Journal.
TRACK ATHLETICS IN DETAIL
Compiled by the Editor of Interscholastic Sport in Harper's Round Table.
Illustrated from Instantaneous Photographs. 8vo, Cloth, Ornamental, $1.25.
In Harper's Round Table Library.
A good book to put into the hands of the athletically inclined. It is
capitally illustrated with instantaneous photographs, and is full of expert
and sound advice and instruction.—Outlook, N. Y.
HARPER BROTHERS, Publishers, New York

Say, ole Turk, I gwine tee depen' on yo' fur drum-
sticks fur my new drum ter cel'brate Thanksgiving ter-
morrow.
THE OLD OAKEN BUCKET.
A dear little girl, named Elsie, was quite a singer, and very fond of an old
song, familiar to most children, called The Old Oaken Bucket. Elsie was
taking lessons in drawing, which interested her very much. She drew pictures
in all her spare time, and often teased mamma with the question,
What shall I draw next, mamma?
Mamma always suggested cows, or bears, or steam-engines, or trees,
according to the first idea which came into her head. One day, in answer to
Elsie's usual question, mamma replied:
Draw the 'old oaken bucket,' Elsie. You are very fond of singing 'The Old
Oaken Bucket.' Sit down and make a picture of it.
This was new. Elsie, with a deep satisfied breath, sat down and staid quiet
about five minutes. At the end of that time she brought mamma this picture.

What upon earth does this mean? asked mamma. It looks like a
conundrum, Elsie; or like the sun, moon, and stars!
Elsie looked at her design with great pride, and a little impatience at
mamma's obtuseness.
Why, don't you see, mamma? she cried. The first one is 'the old oaken
bucket,' and the next one is 'the iron-bound bucket,' and the next is 'the
moss-covered bucket that hangs in the well'!
Then mamma laughed hard, leaning back in her chair, while she held Elsie's
sketch at arm's-length to see it better, as artists always look at pictures.
And what are all those little spots for, Elsie?
Why—those, mamma? said Elsie. Those are 'the spots that my infancy
knew'!
A PERFECT IDENTIFICATION.
Signor Arditi, the well-known musical conductor, has recently published his
memoirs in London. Among the many anecdotes he tells is the following
adventure he had with a bank cashier. He was in an American city and wished
to have a check cashed, but as the cashier did not know Signor Arditi, he told
him he must get himself identified before he could receive any money.
But I do not know any one here, protested the musical conductor.
I am very sorry, said the cashier.
Signor Arditi thought for a few moments, and presently said,

Do you ever attend the opera, young man?
Frequently, said the cashier. I am very fond of music.
Then you must know me, continued Signor Arditi; and taking off his hat he
turned his back upon the cashier, and beat time vigorously to an imaginary
orchestra.
Oh yes! exclaimed the cashier at once. I know the back of your head well.
You are Signor Arditi. And he handed out the money to the musician without
further ceremony.
THE END OF THE CHESAPEAKE.
An English journal contains the following item, for the truth of which we
cannot, of course, vouch; but it is interesting if true:
It is not by any means widely known, says the journal, that the Chesapeake,
famous for her historic encounter with the British ship Shannon in 1813, is in
existence to-day, but is used in the somewhat inglorious capacity of a flour-
mill, and is making money for a hearty Hampshire miller in the little parish of
Wickham. After her capture by Sir Philip B. V. Broke, she was taken to England
in 1814, and in 1820 her timbers were sold to Mr. John Prior, miller of
Wickham, Hants. Mr. Prior pulled down his own mill at Wickham, and erected
a new one from the Chesapeake timbers, which he found admirably adapted
for the purpose. The deck beams were thirty-two feet long, and served,
without alteration, for joists. Many of these timbers yet bear the marks of the
Shannon's grape-shot, and, in some places the shot are still to be seen deeply
embedded in the pitch pine. The metamorphosis of a man-of-war into a
peaceful life-sustaining flour-mill is, perhaps, as near an approach to the
prophecy that spears and swords shall be beaten into ploughs and pruning-
hooks as the conditions of modern civilization will allow.
Pray, Dr. Smith, what is a good cure for the gout? was the question of an
indolent and very luxurious gentleman to his hard-worked friend.
Live upon sixpence a day—and earn it, was the unexpected answer.

*** END OF THE PROJECT GUTENBERG EBOOK HARPER'S ROUND
TABLE, NOVEMBER 24, 1896 ***
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