"Having company" is an expense that may always be felt; but easy daily hospitality, the plate always on your table for a friend, is an expense that appears on no accounts book, and a pleasure that is daily and constant.

Under this head of hospitality, let us suppose a case. A traveler comes from England; he comes in good faith and good feeling to see how Americans live. He merely wants to penetrate into the interior of domestic life, to see what there is genuinely and peculiarly American about it. Now here is Smilax, who is living, in a small, neat way, on his salary from the daily press. He remembers hospitalities received from our traveler in England, and wants to return them. He remembers, too, with dismay, a well-kept establishment, the well-served table, the punctilious, orderly servants. Smilax keeps two, a cook and chambermaid, who divide the functions of his establishment between them. What shall he do? Let him say, in a fair, manly way, "My dear fellow, I'm delighted to see you. I live in a small way, but I'll do my best for you, and Mrs. Smilax will be delighted. Come and dine with us, so and so, and we'll bring in one or two friends." So the man comes, and Mrs. Smilax serves up such a dinner as lies within the limits of her knowledge and the capacities of her servants. All plain, good of its kind, unpretending, without an attempt to do anything English or French,—to do anything more than if she were furnishing a gala dinner for her father or returned brother. Show him your house freely, just as it is, talk to him freely of it, just as he in England showed you his larger house and talked to you of his finer things. If the man is a true man, he will thank you for such unpretending, sincere welcome; if he is a man of straw, then he is not worth wasting Mrs. Smilax's health and spirits for, in unavailing efforts to get up a foreign dinner-party.

A man who has any heart in him values a genuine, little bit of home more than anything else you can give him. He can get French cooking at a restaurant; he can buy expensive wines at first-class hotels, if he wants them; but the traveler, though ever so rich and ever so well-served at home, is, after all, nothing but a man as you are, and he is craving something that doesn't seem like an hotel,—some bit of real, genuine heart life. Perhaps he would like better than anything to show you the last photograph of his wife, or to read to you the great, round-hand letter of his ten-year-old which he has got to-day. He is ready to cry when he thinks of it. In this mood he goes to see you, hoping for something like, home, and you first receive him in a parlor opened only on state occasions, and that has been circumstantially and exactly furnished, as the upholsterer assures you, as every other parlor of the kind in the city is furnished. You treat him to a dinner got up for the occasion, with hired waiters,—a dinner which it has taken Mrs. Smilax a week to prepare for, and will take her a week to recover from,—for which the baby has been snubbed and turned off, to his loud indignation, and your young four-year-old sent to his aunts. Your traveler eats your dinner, and finds it inferior, as a work of art, to other dinners,—a poor imitation. He goes away and criticises; you hear of it, and resolve never to invite a foreigner again. But if you had given him a little of your heart, a little home warmth and feeling,—if you had shown him your baby, and let him romp with your four-year-old, and eat a genuine dinner with you,—would he have been false to that? Not so likely. He wanted something real and human,—you gave him a bad dress rehearsal, and dress rehearsals always provoke criticism.

Besides hospitality, there is, in a true home, a mission of charity. It is a just law which regulates the possession of great or beautiful works of art in the Old World, that they shall in some sense be considered the property of all who can appreciate. Fine grounds have hours when the public may be admitted; pictures and statues may be shown to visitors: and this is a noble charity. In the same manner the fortunate individuals who have achieved the greatest of all human works of art should employ it as a sacred charity. How many, morally wearied, wandering, disabled, are healed and comforted by the warmth of a true home! When a mother has sent her son to the temptations of a distant city, what news is so glad to her heart as that he has found some quiet family where he visits often and is made to feel at HOME? How many young men have good women saved from temptation and shipwreck by drawing them often to the sheltered corner by the fireside! The poor artist; the wandering genius who has lost his way in this world, and stumbles like a child among hard realities; the many men and women who, while they have houses, have no homes, see from afar, in their distant, bleak life journey, the light of a true home fire, and, if made welcome there, warm their stiffened limbs, and go forth stronger to their pilgrimage. Let those who have accomplished this beautiful and perfect work of divine art be liberal of its influence. Let them not seek to bolt the doors and draw the curtains; for they know not, and will never know till the future life, of the good they may do by the ministration of this great charity of home.

We have heard much lately of the restricted sphere of woman. We have been told how many spirits among women are of a wider, stronger, more heroic mould than befits the mere routine of housekeeping. It may be true that there are many women far too great, too wise, too high, for mere housekeeping. But where is the woman in any way too great, or too high, or too wise, to spend herself in creating a home? What can any woman make diviner, higher, better? From such homes go forth all heroisms, all inspirations, all great deeds. Such mothers and such homes have made the heroes and martyrs, faithful unto death, who have given their precious lives to us during these three years of our agony!

Homes are the work of art peculiar to the genius of woman. Man helps in this work, but woman leads; the hive is always in confusion without the queen bee. But what a woman must she be who does this work perfectly! She comprehends all, she balances and arranges all; all different tastes and temperaments find in her their rest, and she can unite at one hearthstone the most discordant elements. In her is order, yet an order ever veiled and concealed by indulgence. None are checked, reproved, abridged of privileges by her love of system; for she knows that order was made for the family, and not the family for order. Quietly she takes on herself what all others refuse or overlook. What the unwary disarrange she silently rectifies. Everybody in her sphere breathes easy, feels free; and the driest twig begins in her sunshine to put out buds and blossoms. So quiet are her operations and movements that none sees that it is she who holds all things in harmony; only, alas, when she is gone, how many things suddenly appear disordered, inharmonious, neglected! All these threads have been smilingly held in her weak hand. Alas, if that is no longer there!

Can any woman be such a housekeeper without inspiration? No. In the words of the old church service, "her soul must ever have affiance in God." The New Jerusalem of a perfect home cometh down from God out of heaven. But to make such a home is ambition high and worthy enough for any woman, be she what she may.

One thing more. Right on the threshold of all perfection lies the cross to be taken up. No one can go over or around that cross in science or in art. Without labor and self-denial neither Raphael nor Michel Angelo nor Newton was made perfect. Nor can man or woman create a true home who is not willing in the outset to embrace life heroically to encounter labor and sacrifice. Only to such shall this divinest power be given to create on earth that which is the nearest image of heaven.



IV

THE ECONOMY OF THE BEAUTIFUL

Talking to you in this way once a month, O my confidential reader, there seems to be danger, as in all intervals of friendship, that we shall not readily be able to take up our strain of conversation just where we left off. Suffer me, therefore, to remind you that the month past left us seated at the fireside, just as we had finished reading of what a home was, and how to make one.

The fire had burned low, and great, solid hickory coals were winking dreamily at us from out their fluffy coats of white ashes,—just as if some household sprite there were opening now one eye and then the other, and looking in a sleepy, comfortable way at us.

The close of my piece about the good house mother had seemed to tell on my little audience. Marianne had nestled close to her mother, and laid her head on her knee; and though Jenny sat up straight as a pin, yet her ever busy knitting was dropped in her lap, and I saw the glint of a tear in her quick, sparkling eye,—yes, actually a little bright bead fell upon her work; whereupon she started up actively, and declared that the fire wanted just one more stick to make a blaze before bedtime; and then there was such a raking among the coals, such an adjusting of the andirons, such vigorous arrangement of the wood, and such a brisk whisking of the hearth-brush, that it was evident Jenny had something on her mind. When all was done, she sat down again and looked straight into the blaze, which went dancing and crackling up, casting glances and flecks of light on our pictures and books, and making all the old, familiar furniture seem full of life and motion.

"I think that's a good piece," she said decisively. "I think those are things that should be thought about."

Now Jenny was the youngest of our flock, and therefore, in a certain way, regarded by my wife and me as perennially "the baby;" and these little, old-fashioned, decisive ways of announcing her opinions seemed so much a part of her nature, so peculiarly "Jennyish," as I used to say, that my wife and I only exchanged amused glances over her head when they occurred.

In a general way, Jenny, standing in the full orb of her feminine instincts like Diana in the moon, rather looked down on all masculine views of women's matters as tolerabiles ineptioe; but towards her papa she had gracious turns of being patronizing to the last degree; and one of these turns was evidently at its flood-tide, as she proceeded to say,—

"I think papa is right,—that keeping house and having a home, and all that, is a very serious thing, and that people go into it with very little thought about it. I really think those things papa has been saying there ought to be thought about."

"Papa," said Marianne, "I wish you would tell me exactly how you would spend that money you gave me for house-furnishing. I should like just your views."

"Precisely," said Jenny with eagerness; "because it is just as papa says,—a sensible man, who has thought and had experience, can't help having some ideas, even about women's affairs, that are worth attending to. I think so, decidedly."

I acknowledged the compliment for my sex and myself with my best bow.

"But then, papa," said Marianne, "I can't help feeling sorry that one can't live in such a way as to have beautiful things around one. I'm sorry they must cost so much, and take so much care, for I am made so that I really want them. I do so like to see pretty things! I do like rich carpets and elegant carved furniture, and fine china and cut-glass and silver. I can't bear mean, common-looking rooms. I should so like to have my house look beautiful!"

"Your house ought not to look mean and common,—your house ought to look beautiful," I replied. "It would be a sin and a shame to have it otherwise. No house ought to be fitted up for a future home without a strong and a leading reference to beauty in all its arrangements. If I were a Greek, I should say that the first household libation should be made to beauty; but, being an old-fashioned Christian, I would say that he who prepares a home with no eye to beauty neglects the example of the great Father who has filled our earth home with such elaborate ornament."

"But then, papa, there's the money!" said Jenny, shaking her little head wisely. "You men don't think of that. You want us girls, for instance, to be patterns of economy, but we must always be wearing fresh, nice things; you abhor soiled gloves and worn shoes; and yet how is all this to be done without money? And it's just so in housekeeping. You sit in your armchairs, and conjure up visions of all sorts of impossible things to be done; but when mamma there takes out that little account-book, and figures away on the cost of things, where do the visions go?"

"You are mistaken, my little dear, and you talk just like a woman,"—this was my only way of revenging myself; "that is to say, you jump to conclusions, without sufficient knowledge. I maintain that in house-furnishing, as well as woman-furnishing, there's nothing so economical as beauty."

"There's one of papa's paradoxes!" said Jenny.

"Yes," said I, "that is my thesis, which I shall nail up over the mantelpiece there, as Luther nailed his to the church door. It is time to rake up the fire now; but to-morrow night I will give you a paper on the Economy of the Beautiful."

* * * * *

"Come, now we are to have papa's paradox," said Jenny, as soon as the tea-things had been carried out.

Entre nous, I must tell you that insensibly we had fallen into the habit of taking our tea by my study fire. Tea, you know, is a mere nothing in itself, its only merit being its social and poetic associations, its warmth and fragrance; and the more socially and informally it can be dispensed, the more in keeping with its airy and cheerful nature.

Our circle was enlightened this evening by the cheery visage of Bob Stephens, seated, as of right, close to Marianne's work-basket.

"You see, Bob," said Jenny, "papa has undertaken to prove that the most beautiful things are always the cheapest."

"I'm glad to hear that," said Bob; "for there's a carved antique bookcase and study-table that I have my eye on, and if this can in any way be made to appear"—

"Oh, it won't be made to appear," said Jenny, settling herself at her knitting, "only in some transcendental, poetic sense, such as papa can always make out. Papa is more than half a poet, and his truths turn out to be figures of rhetoric when one comes to apply them to matters of fact."

"Now, Miss Jenny, please remember my subject and thesis," I replied,—"that in house-furnishing there is nothing so economical as beauty; and I will make it good against all comers, not by figures of rhetoric, but by figures of arithmetic. I am going to be very matter-of-fact and commonplace in my details, and keep ever in view the addition table. I will instance a case which has occurred under my own observation."

THE ECONOMY OF THE BEAUTIFUL

Two of the houses lately built on the new land in Boston were bought by two friends, Philip and John. Philip had plenty of money, and paid the cash down for his house, without feeling the slightest vacancy in his pocket. John, who was an active, rising young man, just entering on a flourishing business, had expended all his moderate savings for years in the purchase of his dwelling, and still had a mortgage remaining, which he hoped to clear off by his future successes. Philip begins the work of furnishing as people do with whom money is abundant, and who have simply to go from shop to shop and order all that suits their fancy and is considered "the thing" in good society. John begins to furnish with very little money. He has a wife and two little ones, and he wisely deems that to insure to them a well-built house, in an open, airy situation, with conveniences for warming, bathing, and healthy living, is a wise beginning in life; but it leaves him little or nothing beyond.

Behold, then, Philip and his wife, well pleased, going the rounds of shops and stores in fitting up their new dwelling, and let us follow step by step. To begin with the wall-paper. Imagine a front and back parlor, with folding-doors, with two south windows on the front, and two looking on a back court, after the general manner of city houses. We will suppose they require about thirty rolls of wall-paper. Philip buys the heaviest French velvet, with gildings and traceries, at four dollars a roll. This, by the time it has been put on, with gold mouldings, according to the most established taste of the best paper-hangers, will bring the wall-paper of the two rooms to a figure something like two hundred dollars. Now they proceed to the carpet stores, and there are thrown at their feet by obsequious clerks velvets and Axminsters, with flowery convolutions and medallion centres, as if the flower gardens of the tropics were whirling in waltzes, with graceful lines of arabesque,—roses, callas, lilies, knotted, wreathed, twined, with blue and crimson and golden ribbons, dazzling marvels of color and tracery. There is no restraint in price,—four or six dollars a yard, it is all the same to them,—and soon a magic flower garden blooms on the floors, at a cost of five hundred dollars. A pair of elegant rugs, at fifty dollars apiece, complete the inventory, and bring our rooms to the mark of eight hundred dollars for papering and carpeting alone. Now come the great mantel-mirrors for four hundred more, and our rooms progress. Then comes the upholsterer, and measures our four windows, that he may skillfully barricade them from air and sunshine. The fortifications against heaven, thus prepared, cost, in the shape of damask, cord, tassels, shades, laces, and cornices, about two hundred dollars per window. To be sure, they make the rooms close and sombre as the grave, but they are of the most splendid stuffs; and if the sun would only reflect, he would see, himself, how foolish it was for him to try to force himself into a window guarded by his betters. If there is anything cheap and plebeian, it is sunshine and fresh air! Behold us, then, with our two rooms papered, carpeted, and curtained for two thousand dollars; and now are to be put in them sofas, lounges, etageres, centre-tables, screens, chairs of every pattern and device, for which it is but moderate to allow a thousand more. We have now two parlors furnished at an outlay of three thousand dollars, without a single picture, a single article of statuary, a single object of art of any kind, and without any light to see them by if they were there. We must say for our Boston upholsterers and furniture-makers that such good taste generally reigns in their establishments that rooms furnished at haphazard from them cannot fail of a certain air of good taste, so far as the individual things are concerned. But the different articles we have supposed, having been ordered without reference to one another or the rooms, have, when brought together, no unity of effect, and the general result is scattering and confused. If asked how Philip's parlors look, your reply is, "Oh, the usual way of such parlors,—everything that such people usually get,—medallion carpets, carved furniture, great mirrors, bronze mantel ornaments, and so on." The only impression a stranger receives, while waiting in the dim twilight of these rooms, is that their owner is rich, and able to get good, handsome things, such as all other rich people get.

Now our friend John, as often happens in America, is moving in the same social circle with Philip, visiting the same people,—his house is the twin of the one Philip has been furnishing,—and how shall he, with a few hundred dollars, make his rooms even presentable beside those which Philip has fitted up elegantly at three thousand?

Now for the economy of beauty. Our friend must make his prayer to the Graces,—for, if they cannot save him, nobody can. One thing John has to begin with, that rare gift to man, a wife with the magic cestus of Venus,—not around her waist, but, if such a thing could be, in her finger-ends. All that she touches falls at once into harmony and proportion. Her eye for color and form is intuitive: let her arrange a garret, with nothing but boxes, barrels, and cast-off furniture in it, and ten to one she makes it seem the most attractive place in the house. It is a veritable "gift of good faerie," this tact of beautifying and arranging, that some women have; and, on the present occasion, it has a real, material value, that can be estimated in dollars and cents. Come with us and you can see the pair taking their survey of the yet unfurnished parlors, as busy and happy as a couple of bluebirds picking up the first sticks and straws for their nest.

"There are two sunny windows to begin with," says the good fairy, with an appreciative glance. "That insures flowers all winter."

"Yes," says John; "I never would look at a house without a good sunny exposure. Sunshine is the best ornament of a house, and worth an extra thousand a year."

"Now for our wall-paper," says she. "Have you looked at wall-papers, John?"

"Yes; we shall get very pretty ones for thirty-seven cents a roll; all you want of a paper, you know, is to make a ground-tint to throw out your pictures and other matters, and to reflect a pleasant tone of light."

"Well, John, you know Uncle James says that a stone color is the best, but I can't bear those cold blue grays."

"Nor I," says John. "If we must have gray, let it at least be a gray suffused with gold or rose color, such as you see at evening in the clouds."

"So I think," responds she; "but, better, I should like a paper with a tone of buff,—something that produces warm yellowish reflections, and will almost make you think the sun is shining in cold gray weather; and then there is nothing that lights up so cheerfully in the evening. In short, John, I think the color of a zafferano rose will be just about the shade we want."

"Well, I can find that, in good American paper, as I said before, at from thirty-seven to forty cents a roll. Then our bordering: there's an important question, for that must determine the carpet, the chairs, and everything else. Now what shall be the ground-tint of our rooms?"

"There are only two to choose between," says the lady,—"green and maroon: which is the best for the picture?"

"I think," says John, looking above the mantelpiece, as if he saw a picture there,—"I think a border of maroon velvet, with maroon furniture, is the best for the picture."

"I think so, too," said she; "and then we will have that lovely maroon and crimson carpet that I saw at Lowe's; it is an ingrain, to be sure, but has a Brussels pattern, a mossy, mixed figure, of different shades of crimson; it has a good warm, strong color, and when I come to cover the lounges and our two old armchairs with maroon rep, it will make such a pretty effect."

"Yes," said John; "and then, you know, our picture is so bright, it will light up the whole. Everything depends on the picture."

Now as to "the picture," it has a story which must be told. John, having been all his life a worshiper and adorer of beauty and beautiful things, had never passed to or from his business without stopping at the print-shop windows, and seeing a little of what was there.

On one of these occasions he was smitten to the heart with the beauty of an autumn landscape, where the red maples and sumachs, the purple and crimson oaks, all stood swathed and harmonized together in the hazy Indian summer atmosphere. There was a great yellow chestnut tree, on a distant hill, which stood out so naturally that John instinctively felt his fingers tingling for a basket, and his heels alive with a desire to bound over on to the rustling hillside and pick up the glossy brown nuts. Everything was there of autumn, even to the goldenrod and purple asters and scarlet creepers in the foreground.

John went in and inquired. It was by an unknown French artist, without name or patrons, who had just come to our shores to study our scenery, and this was the first picture he had exposed for sale. John had just been paid a quarter's salary; he bethought him of board-bill and washerwoman, sighed, and faintly offered fifty dollars.

To his surprise he was taken up at once, and the picture became his. John thought himself dreaming. He examined his treasure over and over, and felt sure that it was the work of no amateur beginner, but of a trained hand and a true artist soul. So he found his way to the studio of the stranger, and apologized for having got such a gem for so much less than its worth. "It was all I could give, though," he said; "and one who paid four times as much could not value it more." And so John took one and another of his friends, with longer purses than his own, to the studio of the modest stranger; and now his pieces command their full worth in the market, and he works with orders far ahead of his ability to execute, giving to the canvas the trails of American scenery as appreciated and felt by the subtile delicacy of the French mind,—our rural summer views, our autumn glories, and the dreamy, misty delicacy of our snowy winter landscapes. Whoso would know the truth of the same, let him inquire for the modest studio of Morvillier, at Maiden, scarce a bowshot from our Boston.

This picture had always been the ruling star of John's house, his main dependence for brightening up his bachelor apartments; and when he came to the task of furbishing those same rooms for a fair occupant, the picture was still his mine of gold. For a picture painted by a real artist, who studies Nature minutely and conscientiously, has something of the charm of the good Mother herself,—something of her faculty of putting on different aspects under different lights. John and his wife had studied their picture at all hours of the day: they had seen how it looked when the morning sun came aslant the scarlet maples and made a golden shimmer over the blue mountains, how it looked toned down in the cool shadows of afternoon, and how it warmed up in the sunset and died off mysteriously into the twilight; and now, when larger parlors were to be furnished, the picture was still the tower of strength, the rallying-point of their hopes.

"Do you know, John," said the wife, hesitating, "I am really in doubt whether we shall not have to get at least a few new chairs and a sofa for our parlors? They are putting in such splendid things at the other door that I am positively ashamed of ours; the fact is, they look almost disreputable,—like a heap of rubbish."

"Well," said John, laughing, "I don't suppose all together sent to an auction-room would bring us fifty dollars, and yet, such as they are, they answer the place of better things for us; and the fact is, Mary, the hard impassable barrier in the case is that there really is no money to get any more."

"Ah, well, then, if there isn't, we must see what we can do with these, and summon all the good fairies to our aid," said Mary. "There's your little cabinet-maker, John, will look over the things and furbish them up; there's that broken arm of the chair must be mended, and everything re-varnished; then I have found such a lovely rep, of just the richest shade of maroon, inclining to crimson, and when we come to cover the lounges and armchairs and sofas and ottomans all alike, you know they will be quite another thing."

"Trust you for that, Mary! By the bye, I've found a nice little woman, who has worked on upholstery, who will come in by the day, and be the hands that shall execute the decrees of your taste."

"Yes, I am sure we shall get on capitally. Do you know that I'm almost glad we can't get new things? It's a sort of enterprise to see what we can do with old ones."

"Now, you see, Mary," said John, seating himself on a lime-cask which the plasterers had left, and taking out his memorandum-book,—"you see, I've calculated this thing all over; I've found a way by which I can make our rooms beautiful and attractive without a cent expended on new furniture."

"Well, let's hear."

"Well, my way is short and simple. We must put things into our rooms that people will look at, so that they will forget to look at the furniture, and never once trouble their heads about it. People never look at furniture so long as there is anything else to look at; just as Napoleon, when away on one of his expeditions, being told that the French populace were getting disaffected, wrote back, 'Gild the dome des Invalides,' and so they gilded it, and the people, looking at that, forgot everything else."

"But I'm not clear yet," said Mary, "what is coming of this rhetoric."

"Well, then, Mary, I'll tell you. A suit of new carved black-walnut furniture, severe in taste and perfect in style, such as I should choose at David & Saul's, could not be got under three hundred dollars, and I haven't the three hundred to give. What, then, shall we do? We must fall back on our resources; we must look over our treasures. We have our proof cast of the great glorious head of the Venus di Milo; we have those six beautiful photographs of Rome, that Brown brought to us; we have the great German lithograph of the San Sisto Mother and Child, and we have the two angel heads, from the same; we have that lovely golden twilight sketch of Heade's; we have some sea photographs of Bradford's; we have an original pen-and-ink sketch by Billings; and then, as before, we have 'our picture.' What has been the use of our watching at the gates and waiting at the doors of Beauty all our lives, if she hasn't thrown us out a crust now and then, so that we might have it for time of need? Now, you see, Mary, we must make the toilet of our rooms just as a pretty woman makes hers when money runs low, and she sorts and freshens her ribbons, and matches them to her hair and eyes, and, with a bow here and a bit of fringe there, and a button somewhere else, dazzles us into thinking that she has an infinity of beautiful attire. Our rooms are new and pretty of themselves, to begin with; the tint of the paper, and the rich coloring of the border, corresponding with the furniture and carpets, will make them seem prettier. And now for arrangement. Take this front room. I propose to fill those two recesses each side of the fireplace with my books, in their plain pine cases, just breast-high from the floor: they are stained a good dark color, and nobody need stick a pin in them to find out that they are not rosewood. The top of these shelves on either side to be covered with the same stuff as the furniture, finished with a crimson fringe. On top of the shelves on one side of the fireplace I shall set our noble Venus di Milo, and I shall buy at Cicci's the lovely Clytie, and put it the other side. Then I shall get of Williams & Everett two of their chromo lithographs, which give you all the style and charm of the best English watercolor school. I will have the lovely Bay of Amalfi over my Venus, because she came from those suns and skies of southern Italy, and I will hang Lake Como over my Clytie. Then, in the middle, over the fireplace, shall be 'our picture.' Over each door shall hang one of the lithographed angel heads of the San Sisto, to watch our going out and coming in; and the glorious Mother and Child shall hang opposite the Venus di Milo, to show how Greek and Christian unite in giving the noblest type to womanhood. And then, when we have all our sketches and lithographs framed and hung here and there, and your flowers blooming as they always do, and your ivies wandering and rambling as they used to, and hanging in the most graceful ways and places, and all those little shells and ferns and vases, which you are always conjuring with, tastefully arranged, I'll venture to say that our rooms will be not only pleasant, but beautiful, and that people will oftener say, 'How beautiful!' when they enter, than if we spent three times the money on new furniture."

In the course of a year after this conversation, one and another of my acquaintances were often heard speaking of John Morton's house. "Such beautiful rooms,—so charmingly furnished,—you must go and see them. What does make them so much pleasanter than those rooms in the other house, which have everything in them that money can buy?" So said the folk; for nine people out of ten only feel the effect of a room, and never analyze the causes from which it flows: they know that certain rooms seem dull and heavy and confused, but they don't know why; that certain others seem cheerful, airy, and beautiful, but they know not why. The first exclamation, on entering John's parlors, was so often "How beautiful!" that it became rather a byword in the family. Estimated by their mere money value, the articles in the rooms were of very trifling worth; but, as they stood arranged and combined, they had all the effect of a lovely picture. Although the statuary was only plaster, and the photographs and lithographs such as were all within the compass of limited means, yet every one of them was a good thing of its own kind, or a good reminder of some of the greatest works of art. A good plaster cast is a daguerreotype, so to speak, of a great statue, though it may be bought for five or six dollars, while its original is not to be had for any namable sum. A chromo lithograph of the best sort gives all the style and manner and effect of Turner or Stanfield, or any of the best of modern artists, though you buy it for five or ten dollars, and though the original would command a thousand guineas. The lithographs from Raphael's immortal picture give you the results of a whole age of artistic culture, in a form within the compass of very humble means. There is now selling for five dollars at Williams & Everett's a photograph of Cheney's crayon drawing of the San Sisto Madonna and Child, which has the very spirit of the glorious original. Such a picture, hung against the wall of a child's room, would train its eye from infancy; and yet how many will freely spend five dollars in embroidery on its dress, that say they cannot afford works of art!

There was one advantage which John and his wife found, in the way in which they furnished their house, that I have hinted at before: it gave freedom to their children. Though their rooms were beautiful, it was not with the tantalizing beauty of expensive and frail knick-knacks. Pictures hung against the wall, and statuary safely lodged on brackets, speak constantly to the childish eye, but are out of the reach of childish fingers, and are not upset by childish romps. They are not, like china and crystal, liable to be used and abused by servants; they do not wear out; they are not spoiled by dust, nor consumed by moths. The beauty once there is always there; though the mother be ill and in her chamber, she has no fears that she shall find it all wrecked and shattered. And this style of beauty, inexpensive as it is, compared with luxurious furniture, is a means of cultivation. No child is ever stimulated to draw or to read by an Axminster carpet or a carved centre-table; but a room surrounded with photographs and pictures and fine casts suggests a thousand inquiries, stimulates the little eye and hand. The child is found with its pencil, drawing, or he asks for a book on Venice, or wants to hear the history of the Roman Forum.

But I have made my article too long. I will write another on the moral and intellectual effects of house-furnishing.

"I have proved my point, Miss Jenny, have I not? In house-furnishing nothing is more economical than beauty."

"Yes, papa," said Jenny; "I give it up."



V

RAKING UP THE FIRE

We have a custom at our house which we call raking up the fire. That is to say, the last half hour before bedtime, we draw in, shoulder to shoulder, around the last brands and embers of our hearth, which we prick up and brighten, and dispose for a few farewell flickers and glimmers. This is a grand time for discussion. Then we talk over parties, if the young people have been out of an evening,—a book, if we have been reading one; we discuss and analyze characters,—give our views on all subjects, aesthetic, theological, and scientific, in a way most wonderful to hear; and, in fact, we sometimes get so engaged in our discussions that every spark of the fire burns out, and we begin to feel ourselves shivering around the shoulders, before we can remember that it is bedtime.

So, after the reading of my last article, we had a "raking-up talk,"—to wit, Jenny, Marianne, and I, with Bob Stephens: my wife, still busy at her work-basket, sat at the table a little behind us. Jenny, of course, opened the ball in her usual incisive manner.

"But now, papa, after all you say in your piece there, I cannot help feeling that, if I had the taste and the money too, it would be better than the taste alone with no money. I like the nice arrangements and the books and the drawings, but I think all these would appear better still with really elegant furniture."

"Who doubts that?" said I. "Give me a large tub of gold coin to dip into, and the furnishing and beautifying of a house is a simple affair. The same taste that could make beauty out of cents and dimes could make it more abundantly out of dollars and eagles. But I have been speaking for those who have not and cannot get riches, and who wish to have agreeable houses; and I begin in the outset by saying that beauty is a thing to be respected, reverenced, and devoutly cared for, and then I say that BEAUTY IS CHEAP,—nay, to put it so that the shrewdest Yankee will understand it,—BEAUTY IS THE CHEAPEST THING YOU CAN HAVE, because in many ways it is a substitute for expense. A few vases of flowers in a room, a few blooming, well-kept plants, a few prints framed in fanciful frames of cheap domestic fabric, a statuette, a bracket, an engraving, a pencil-sketch,—above all, a few choice books,—all these arranged by a woman who has the gift in her finger-ends, often produce such an illusion on the mind's eye that one goes away without once having noticed that the cushion of the armchair was worn out, and that some veneering had fallen off the centre-table.

"I have a friend, a schoolmistress, who lives in a poor little cottage enough, which, let alone of the Graces, might seem mean and sordid, but a few flower-seeds and a little weeding in the spring make it, all summer, an object which everybody stops to look at. Her aesthetic soul was at first greatly tried with the water-barrel which stood under the eaves spout,—a most necessary evil, since only thus could her scanty supply of soft water for domestic purposes be secured. One of the Graces, however, suggested to her a happy thought. She planted a row of morning-glories round the bottom of her barrel, and drove a row of tacks around the top, and strung her water-butt with twine, like a great harpsichord. A few weeks covered the twine with blossoming plants, which every morning were a mass of many-colored airy blooms, waving in graceful sprays, and looking at themselves in the water. The water-barrel, in fact, became a celebrated stroke of ornamental gardening, which the neighbors came to look at."

"Well, but," said Jenny, "everybody hasn't mamma's faculty with flowers. Flowers will grow for some people, and for some they won't. Nobody can see what mamma does so very much, but her plants always look fresh and thriving and healthy,—her things blossom just when she wants them, and do anything else she wishes them to; and there are other people that fume and fuss and try, and their things won't do anything at all. There's Aunt Easygo has plant after plant brought from the greenhouse, and hanging-baskets, and all sorts of things; but her plants grow yellow and drop their leaves, and her hanging-baskets get dusty and poverty-stricken, while mamma's go on flourishing as heart could desire."

"I can tell you what your mother puts into her plants," said I,—"just what she has put into her children, and all her other home-things,—her heart. She loves them; she lives in them; she has in herself a plant-life and a plant-sympathy. She feels for them as if she herself were a plant; she anticipates their wants,—always remembers them without an effort, and so the care flows to them daily and hourly. She hardly knows when she does the things that make them grow, but she gives them a minute a hundred times a day. She moves this nearer the glass,—draws that back,—detects some thief of a worm on one,—digs at the root of another, to see why it droops,—washes these leaves and sprinkles those,—waters, and refrains from watering, all with the habitual care of love. Your mother herself doesn't know why her plants grow; it takes a philosopher and a writer for the 'Atlantic' to tell her what the cause is."

Here I saw my wife laughing over her work-basket as she answered,—

"Girls, one of these days I will write an article for the 'Atlantic,' that your papa need not have all the say to himself; however, I believe he has hit the nail on the head this time."

"Of course he has," said Marianne. "But, mamma, I am afraid to begin to depend much on plants for the beauty of my rooms, for fear I should not have your gift,—and, of all forlorn and hopeless things in a room, ill-kept plants are the most so."

"I would not recommend," said I, "a young housekeeper, just beginning, to rest much for her home ornament on plant-keeping, unless she has an experience of her own love and talent in this line which makes her sure of success; for plants will not thrive if they are forgotten or overlooked, and only tended in occasional intervals; and, as Marianne says, neglected plants are the most forlorn of all things."

"But, papa," said Marianne anxiously, "there, in those patent parlors of John's that you wrote of, flowers acted a great part."

"The charm of those parlors of John's may be chemically analyzed," I said. "In the first place, there is sunshine, a thing that always affects the human nerves of happiness. Why else is it that people are always so glad to see the sun after a long storm? why are bright days matters of such congratulation? Sunshine fills a house with a thousand beautiful and fanciful effects of light and shade,—with soft, luminous, reflected radiances, that give picturesque effects to the pictures, books, statuettes of an interior. John, happily, had no money to buy brocatelle curtains, and, besides this, he loved sunshine too much to buy them, if he could. He had been enough with artists to know that heavy damask curtains darken precisely that part of the window where the light proper for pictures and statuary should come in, namely, the upper part. The fashionable system of curtains lights only the legs of the chairs and the carpets, and leaves all the upper portion of the room in shadow. John's windows have shades which can at pleasure be drawn down from the top or up from the bottom, so that the best light to be had may always be arranged for his little interior."

"Well, papa," said Marianne, "in your chemical analysis of John's rooms, what is the next thing to the sunshine?"

"The next," said I, "is harmony of color. The wall-paper, the furniture, the carpets, are of tints that harmonize with one another. This is a grace in rooms always, and one often neglected. The French have an expressive phrase with reference to articles which are out of accord,—they say that they swear at each other, I have been in rooms where I seemed to hear the wall-paper swearing at the carpet, and the carpet swearing back at the wall-paper, and each article of furniture swearing at the rest. These appointments may all of them be of the most expensive kind, but with such dis-harmony no arrangement can ever produce anything but a vulgar and disagreeable effect. On the other hand, I have been in rooms where all the material was cheap and the furniture poor, but where, from some instinctive knowledge of the reciprocal effect of colors, everything was harmonious, and produced a sense of elegance.

"I recollect once traveling on a Western canal through a long stretch of wilderness, and stopping to spend the night at an obscure settlement of a dozen houses. We were directed to lodgings in a common frame house at a little distance, where, it seemed, the only hotel was kept. When we entered the parlor, we were struck with utter amazement at its prettiness, which affected us before we began to ask ourselves how it came to be pretty. It was, in fact, only one of the miracles of harmonious color working with very simple materials. Some woman had been busy there, who had both eyes and fingers. The sofa, the common wooden rocking-chairs, and some ottomans, probably made of old soap-boxes, were all covered with American nankeen of a soft yellowish-brown, with a bordering of blue print. The window-shades, the table-cover, and the piano-cloth all repeated the same colors, in the same cheap material. A simple straw matting was laid over the floor, and, with a few books, a vase of flowers, and one or two prints, the room had a home-like and even elegant air, that struck us all the more forcibly from its contrast with the usual tawdry, slovenly style of such parlors.

"The means used for getting up this effect were the most inexpensive possible,—simply the following out, in cheap material, a law of uniformity and harmony, which always will produce beauty. In the same manner, I have seen a room furnished, whose effect was really gorgeous in color, where the only materials used were Turkey-red cotton and a simple ingrain carpet of corresponding color.

"Now, you girls have been busy lately in schemes for buying a velvet carpet for the new parlor that is to be, and the only points that have seemed to weigh in the council were that it was velvet, that it was cheaper than velvets usually are, and that it was a genteel pattern."

"Now, papa," said Jenny, "what ears you have! We thought you were reading all the time!"

"I see what you are going to say," said Marianne. "You think that we have not once mentioned the consideration which should determine the carpet, whether it will harmonize with our other things. But you see, papa, we don't really know what our other things are to be."

"Yes," said Jenny, "and Aunt Easygo said it was an unusually good chance to get a velvet carpet."

"Yet, good as the chance is, it costs just twice as much as an ingrain."

"Yes, papa, it does."

"And you are not sure that the effect of it, after you get it down, will be as good as a well-chosen ingrain one."

"That's true," said Marianne reflectively.

"But then, papa," said Jenny, "Aunt Easygo said she never heard of such a bargain; only think, two dollars a yard for a velvet!"

"And why is it two dollars a yard? Is the man a personal friend, that he wishes to make you a present of a dollar on the yard, or is there some reason why it is undesirable?" said I.

"Well, you know, papa, he said those large patterns were not so salable."

"To tell the truth," said Marianne, "I never did like the pattern exactly; as to uniformity of tint, it might match with anything, for there's every color of the rainbow in it."

"You see, papa, it's a gorgeous flower-pattern," said Jenny.

"Well, Marianne, how many yards of this wonderfully cheap carpet do you want?"

"We want sixty yards for both rooms," said Jenny, always primed with statistics.

"That will be a hundred and twenty dollars," I said.

"Yes," said Jenny; "and we went over the figures together, and thought we could make it out by economizing in other things. Aunt Easygo said that the carpet was half the battle,—that it gave the air to everything else."

"Well, Marianne, if you want a man's advice in the case, mine is at your service."

"That is just what I want, papa."

"Well, then, my dear, choose your wall-papers and borderings, and, when they are up, choose an ingrain carpet to harmonize with them, and adapt your furniture to the same idea. The sixty dollars that you save on your carpet spend on engravings, chromo lithographs, or photographs of some good works of art, to adorn your walls."

"Papa, I'll do it," said Marianne.

"My little dear," said I, "your papa may seem to be a sleepy old book-worm, yet he has his eyes open. Do you think I don't know why my girls have the credit of being the best-dressed girls on the street?"

"Oh papa!" cried out both girls in a breath.

"Fact, that!" said Bob, with energy, pulling at his mustache. "Everybody talks about your dress, and wonders how you make it out."

"Well," said I, "I presume you do not go into a shop and buy a yard of ribbon because it is selling at half price, and put it on without considering complexion, eyes, hair, and shade of the dress, do you?"

"Of course we don't!" chimed in the duo with energy.

"Of course you don't. Haven't I seen you mincing downstairs, with all your colors harmonized, even to your gloves and gaiters? Now, a room must be dressed as carefully as a lady."

"Well, I'm convinced," said Jenny, "that papa knows how to make rooms prettier than Aunt Easygo; but then she said this was cheap, because it would outlast two common carpets."

"But, as you pay double price," said I, "I don't see that. Besides, I would rather, in the course of twenty years, have two nice, fresh ingrain carpets, of just the color and pattern that suited my rooms, than labor along with one ill-chosen velvet that harmonized with nothing."

"I give it up," said Jenny; "I give it up."

"Now, understand me," said I; "I am not traducing velvet or Brussels or Axminster. I admit that more beautiful effects can be found in those goods than in the humbler fabrics of the carpet rooms. Nothing would delight me more than to put an unlimited credit to Marianne's account, and let her work out the problems of harmonious color in velvet and damask. All I have to say is, that certain unities of color, certain general arrangements, will secure very nearly as good general effects in either material. A library with a neat, mossy green carpet on the floor, harmonizing with wall-paper and furniture, looks generally as well, whether the mossy green is made in Brussels or in ingrain. In the carpet stores, these two materials stand side by side in the very same pattern, and one is often as good for the purpose as the other. A lady of my acquaintance, some years since, employed an artist to decorate her parlors. The walls being frescoed and tinted to suit his ideal, he immediately issued his decree that her splendid velvet carpets must be sent to auction, and others bought of certain colors harmonizing with the walls. Unable to find exactly the color and pattern he wanted, he at last had the carpets woven in a neighboring factory, where, as yet, they had only the art of weaving ingrains. Thus was the material sacrificed at once to the harmony."

I remarked, in passing, that this was before Bigelow's mechanical genius had unlocked for America the higher secrets of carpet-weaving, and made it possible to have one's desires accomplished in Brussels or velvet. In those days, English carpet-weavers did not send to America for their looms, as they now do.

"But now to return to my analysis of John's rooms.

"Another thing which goes a great way towards giving them their agreeable air is the books in them. Some people are fond of treating books as others do children. One room in the house is selected, and every book driven into it and kept there. Yet nothing makes a room so home-like, so companionable, and gives it such an air of refinement, as the presence of books. They change the aspect of a parlor from that of a mere reception-room, where visitors perch for a transient call, and give it the air of a room where one feels like taking off one's things to stay. It gives the appearance of permanence and repose and quiet fellowship; and, next to pictures on the walls, the many-colored bindings and gildings of books are the most agreeable adornment of a room."

"Then, Marianne," said Bob, "we have something to start with, at all events. There are my English Classics and English Poets, and my uniform editions of Scott and Thackeray and Macaulay and Prescott and Irving and Longfellow and Lowell and Hawthorne and Holmes and a host more. We really have something pretty there."

"You are a lucky girl," I said, "to have so much secured. A girl brought up in a house full of books, always able to turn to this or that author and look for any passage or poem when she thinks of it, doesn't know what a blank a house without books might be."

"Well," said Marianne, "mamma and I were counting over my treasures the other day. Do you know, I have one really fine old engraving, that Bob says is quite a genuine thing; and then there is that pencil-sketch that poor Schoene made for me the month before he died,—it is truly artistic."

"And I have a couple of capital things of Landseer's," said Bob.

"There's no danger that your rooms will not be pretty," said I, "now you are fairly on the right track."

"But, papa," said Marianne, "I am troubled about one thing. My love of beauty runs into everything. I want pretty things for my table; and yet, as you say, servants are so careless, one cannot use such things freely without great waste."

"For my part," said my wife, "I believe in best china, to be kept carefully on an upper shelf, and taken down for high-days and holidays; it may be a superstition, but I believe in it. It must never be taken out except when the mistress herself can see that it is safely cared for. My mother always washed her china herself; and it was a very pretty social ceremony, after tea was over, while she sat among us washing her pretty cups, and wiping them on a fine damask towel."

"With all my heart," said I; "have your best china and venerate it,—it is one of the loveliest of domestic superstitions; only do not make it a bar to hospitality, and shrink from having a friend to tea with you, unless you feel equal to getting up to the high shelf where you keep it, getting it down, washing, and putting it up again.

"But in serving a table, I say, as I said of a house, beauty is a necessity, and beauty is cheap. Because you cannot afford beauty in one form, it does not follow that you cannot have it in another. Because one cannot afford to keep up a perennial supply of delicate china and crystal, subject to the accidents of raw, untrained servants, it does not follow that the every-day table need present a sordid assortment of articles chosen simply for cheapness, while the whole capacity of the purse is given to the set forever locked away for state occasions.

"A table-service all of simple white, of graceful forms, even though not of china, if arranged with care, with snowy, well-kept table-linen, clear glasses, and bright American plate in place of solid silver, may be made to look inviting; add a glass of flowers every day, and your table may look pretty: and it is far more important that it should look pretty for the family every day than for company once in two weeks."

"I tell my girls," said my wife, "as the result of my experience, you may have your pretty china and your lovely fanciful articles for the table only so long as you can take all the care of them yourselves. As soon as you get tired of doing this, and put them into the hands of the trustiest servants, some good, well-meaning creature is sure to break her heart and your own and your very pet darling china pitcher all in one and the same minute, and then her frantic despair leaves you not even the relief of scolding."

"I have become perfectly sure," said I "that there are spiteful little brownies, intent on seducing good women to sin, who mount guard over the special idols of the china closet. If you hear a crash, and a loud Irish wail from the inner depths, you never think of its being a yellow pie-plate, or that dreadful one-handled tureen that you have been wishing were broken these five years; no, indeed,—it is sure to be the lovely painted china bowl, wreathed with morning-glories and sweet-peas, or the engraved glass goblet, with quaint Old English initials. China sacrificed must be a great means of saintship to women. Pope, I think, puts it as the crowning grace of his perfect woman that she is

"'Mistress of herself though china fall.'"

"I ought to be a saint by this time, then," said mamma; "for in the course of my days I have lost so many idols by breakage, and peculiar accidents that seemed by a special fatality to befall my prettiest and most irreplaceable things, that in fact it has come to be a superstitious feeling now with which I regard anything particularly pretty of a breakable nature."

"Well," said Marianne, "unless one has a great deal of money, it seems to me that the investment in these pretty fragilities is rather a poor one."

"Yet," said I, "the principle of beauty is never so captivating as when it presides over the hour of daily meals. I would have the room where they are served one of the pleasantest and sunniest in the house. I would have its coloring cheerful, and there should be companionable pictures and engravings on the walls. Of all things, I dislike a room that seems to be kept, like a restaurant, merely to eat in. I like to see in a dining-room something that betokens a pleasant sitting-room at other hours. I like there some books, a comfortable sofa or lounge, and all that should make it cosy and inviting. The custom in some families, of adopting for the daily meals one of the two parlors which a city house furnishes, has often seemed to me a particularly happy one. You take your meals, then, in an agreeable place, surrounded by the little pleasant arrangements of your daily sitting-room; and after the meal, if the lady of the house does the honors of her own pretty china herself, the office may be a pleasant and social one.

"But in regard to your table-service I have my advice at hand. Invest in pretty table-linen, in delicate napkins, have your vase of flowers, and be guided by the eye of taste in the choice and arrangement of even the every-day table articles, and have no ugly things when you can have pretty ones by taking a little thought. If you are sore tempted with lovely china and crystal, too fragile to last, too expensive to be renewed, turn away to a print-shop and comfort yourself by hanging around the walls of your dining-room beauty that will not break or fade, that will meet your eye from year to year, though plates, tumblers, and teasets successively vanish. There is my advice for you, Marianne."

At the same time let me say, in parenthesis, that my wife, whose weakness is china, informed me that night, when we were by ourselves, that she was ordering secretly a teaset as a bridal gift for Marianne every cup of which was to be exquisitely painted with the wild flowers of America, from designs of her own,—a thing, by the by, that can now be very nicely executed in our country, as one may find by looking in at our friend Briggs's on School Street. "It will last her all her life," she said, "and always be such a pleasure to look at; and a pretty tea-table is such a pretty sight!" So spoke Mrs. Crowfield, "unweaned from china by a thousand falls." She spoke even with tears in her eyes. Verily these women are harps of a thousand strings!

But to return to my subject.

"Finally and lastly," I said, "in my analysis and explication of the agreeableness of those same parlors, comes the growing grace,—their homeliness. By 'homeliness' I mean not ugliness, as the word is apt to be used, but the air that is given to a room by being really at home in it. Not the most skillful arrangement can impart this charm.

"It is said that a king of France once remarked, 'My son, you must seem to love your people.'

"'Father, how shall I seem to love them?'

"'My son, you must love them.'

"So, to make rooms seem home-like, you must be at home in them. Human light and warmth are so wanting in some rooms, it is so evident that they are never used, that you can never be at ease there. In vain the housemaid is taught to wheel the sofa and turn chair toward chair; in vain it is attempted to imitate a negligent arrangement of the centre-table.

"Books that have really been read and laid down, chairs that have really been moved here and there in the animation of social contact, have a sort of human vitality in them; and a room in which people really live and enjoy is as different from a shut-up apartment as a live woman from a wax image.

"Even rooms furnished without taste often become charming from this one grace, that they seem to let you into the home life and home current. You seem to understand in a moment that you are taken into the family, and are moving in its inner circles, and not revolving at a distance in some outer court of the gentiles.

"How many people do we call on from year to year and know no more of their feelings, habits, tastes, family ideas and ways, than if they lived in Kamtschatka! And why? Because the room which they call a front parlor is made expressly so that you never shall know. They sit in a back room,—work, talk, read, perhaps. After the servant has let you in and opened a crack of the shutters, and while you sit waiting for them to change their dress and come in, you speculate as to what they may be doing. From some distant region, the laugh of a child, the song of a canary-bird reaches you, and then a door claps hastily to. Do they love plants? Do they write letters, sew, embroider, crochet? Do they ever romp and frolic? What books do they read? Do they sketch or paint? Of all these possibilities the mute and muffled room says nothing. A sofa and six chairs, two ottomans fresh from the upholsterer's, a Brussels carpet, a centre-table with four gilt Books of Beauty on it, a mantel-clock from Paris, and two bronze vases,—all those tell you only in frigid tones, 'This is the best room,'—only that, and nothing more,—and soon she trips in in her best clothes, and apologizes for keeping you waiting, asks how your mother is, and you remark that it is a pleasant day, and thus the acquaintance progresses from year to year. One hour in the back room, where the plants and canary-bird and children are, might have made you fast friends for life; but, little as it is, you care no more for them than for the gilt clock on the mantel.

"And now, girls," said I, pulling a paper out of my pocket, "you must know that your father is getting to be famous by means of these 'House and Home Papers.' Here is a letter I have just received:—

"MOST EXCELLENT MR. CROWFIELD,—Your thoughts have lighted into our family circle and echoed from our fireside. We all feel the force of them, and are delighted with the felicity of your treatment of the topic you have chosen. You have taken hold of a subject that lies deep in our hearts, in a genial, temperate, and convincing spirit. All must acknowledge the power of your sentiments upon their imaginations; if they could only trust to them in actual life! There is the rub.

"Omitting further upon these points, there is a special feature of your articles upon which we wish to address you. You seem as yet (we do not know, of course, what you may hereafter do) to speak only of homes whose conduct depends upon the help of servants. Now your principles apply, as some of us well conceive, to nearly all classes of society; yet most people, to take an impressive hint, must have their portraits drawn out more exactly. We therefore hope that you will give a reasonable share of your attention to us who do not employ servants, so that you may ease us of some of our burdens, which, in spite of common sense, we dare not throw off. For instance, we have company,—a friend from afar (perhaps wealthy), or a minister, or some other man of note. What do we do? Sit down and receive our visitor with all good will and the freedom of a home? No; we (the lady of the house) flutter about to clear up things, apologizing about this, that, and the other condition of unpreparedness, and, having settled the visitor in the parlor, set about marshaling the elements of a grand dinner or supper, such as no person but a gourmand wants to sit down to, when at home and comfortable; and in getting up this meal, clearing away and washing the dishes, we use up a good half of the time which our guest spends with us. We have spread ourselves, and shown him what we could do; but what a paltry, heart-sickening achievement! Now, good Mr. Crowfield, thou friend of the robbed and despairing, wilt thou not descend into our purgatorial circle, and tell the world what thou hast seen there of doleful remembrance? Tell us how we, who must do and desire to do our own work, can show forth in our homes a homely yet genial hospitality, and entertain our guests without making a fuss and hurlyburly, and seeming to be anxious for their sake about many things, and spending too much time getting meals, as if eating were the chief social pleasure. Won't you do this, Mr. Crowfield?

"Yours beseechingly,

"R. H. A."

"That's a good letter," said Jenny.

"To be sure it is," said I.

"And shall you answer it, papa?"

"In the very next 'Atlantic,' you may be sure I shall. The class that do their own work are the strongest, the most numerous, and, taking one thing with another, quite as well cultivated a class as any other. They are the anomaly of our country,—the distinctive feature of the new society that we are building up here; and, if we are to accomplish our national destiny, that class must increase rather than diminish. I shall certainly do my best to answer the very sensible and pregnant questions of that letter."

Here Marianne shivered and drew up a shawl, and Jenny gaped; my wife folded up the garment in which she had set the last stitch, and the clock struck twelve.

Bob gave a low whistle. "Who knew it was so late?"

"We have talked the fire fairly out," said Jenny.



VI

THE LADY WHO DOES HER OWN WORK

"My dear Chris," said my wife, "isn't it time to be writing the next 'House and Home Paper'?"

I was lying back in my study-chair, with my heels luxuriously propped on an ottoman, reading for the two-hundredth time Hawthorne's "Mosses from an Old Manse," or his "Twice-Told Tales," I forget which,—I only know that these books constitute my cloud-land, where I love to sail away in dreamy quietude, forgetting the war, the price of coal and flour, the rates of exchange, and the rise and fall of gold. What do all these things matter, as seen from those enchanted gardens in Padua where the weird Rappaccini tends his enchanted plants, and his gorgeous daughter fills us with the light and magic of her presence, and saddens us with the shadowy allegoric mystery of her preternatural destiny? But my wife represents the positive forces of time, place, and number in our family, and, having also a chronological head, she knows the day of the month, and therefore gently reminded me that by inevitable dates the time drew near for preparing my—which is it, now, May or June number?

"Well, my dear, you are right," I said, as by an exertion I came head-uppermost, and laid down the fascinating volume. "Let me see, what was I to write about?"

"Why, you remember you were to answer that letter from the lady who does her own work."

"Enough!" said I, seizing the pen with alacrity; "you have hit the exact phrase:—

"'The lady who does her own work.'"

* * * * *

America is the only country where such a title is possible,—the only country where there is a class of women who may be described as ladies who do their own work. By a lady we mean a woman of education, cultivation, and refinement, of liberal tastes and ideas, who, without any very material additions or changes, would be recognized as a lady in any circle of the Old World or the New.

What I have said is, that the existence of such a class is a fact peculiar to American society, a clear, plain result of the new principles involved in the doctrine of universal equality.

When the colonists first came to this country, of however mixed ingredients their ranks might have been composed, and however imbued with the spirit of feudal and aristocratic ideas, the discipline of the wilderness soon brought them to a democratic level; the gentleman felled the wood for his log-cabin side by side with the ploughman, and thews and sinews rose in the market. "A man was deemed honorable in proportion as he lifted his hand upon the high trees of the forest." So in the interior domestic circle. Mistress and maid, living in a log-cabin together, became companions, and sometimes the maid, as the more accomplished and stronger, took precedence of the mistress. It became natural and unavoidable that children should begin to work as early as they were capable of it. The result was a generation of intelligent people brought up to labor from necessity, but turning on the problem of labor the acuteness of a disciplined brain. The mistress, outdone in sinews and muscles by her maid, kept her superiority by skill and contrivance. If she could not lift a pail of water she could invent methods which made lifting the pail unnecessary; if she could not take a hundred steps without weariness, she could make twenty answer the purpose of a hundred.

Slavery, it is true, was to some extent introduced into New England, but it never suited the genius of the people, never struck deep root, or spread so as to choke the good seed of self-helpfulness. Many were opposed to it from conscientious principle,—many from far-sighted thrift, and from a love of thoroughness and well-doing which despised the rude, unskilled work of barbarians. People, having once felt the thorough neatness and beauty of execution which came of free, educated, and thoughtful labor, could not tolerate the clumsiness of slavery. Thus it came to pass that for many years the rural population of New England, as a general rule, did their own work, both out doors and in. If there were a black man or black woman or bound girl, they were emphatically only the helps, following humbly the steps of master and mistress, and used by them as instruments of lightening certain portions of their toil. The master and mistress with their children were the head workers.

Great merriment has been excited in the Old Country because years ago the first English travelers found that the class of persons by them denominated servants were in America denominated help or helpers. But the term was the very best exponent of the state of society. There were few servants in the European sense of the word; there was a society of educated workers, where all were practically equal, and where, if there was a deficiency in one family and an excess in another, a helper, not a servant, was hired. Mrs. Brown, who has six sons and no daughters, enters into agreement with Mrs. Jones, who has six daughters and no sons. She borrows a daughter, and pays her good wages to help in her domestic toil, and sends a son to help the labors of Mr. Jones. These two young people go into the families in which they are to be employed in all respects as equals and companions, and so the work of the community is equalized. Hence arose, and for many years continued, a state of society more nearly solving than any other ever did the problem of combining the highest culture of the mind with the highest culture of the muscles and the physical faculties.

Then were to be seen families of daughters, handsome, strong females, rising each day to their indoor work with cheerful alertness,—one to sweep the room, another to make the fire, while a third prepared the breakfast for the father and brothers who were going out to manly labor; and they chatted meanwhile of books, studies, embroidery, discussed the last new poem, or some historical topic started by graver reading, or perhaps a rural ball that was to come off the next week. They spun with the book tied to the distaff; they wove; they did all manner of fine needlework; they made lace, painted flowers, and, in short, in the boundless consciousness of activity, invention, and perfect health, set themselves to any work they had ever read or thought of. A bride in those days was married with sheets and tablecloths of her own weaving, with counterpanes and toilet-covers wrought in divers embroidery by her own and her sisters' hands. The amount of fancy work done in our days by girls who have nothing else to do will not equal what was done by these, who performed besides, among them, the whole work of the family.

For many years these habits of life characterized the majority of our rural towns. They still exist among a class respectable in numbers and position, though perhaps not as happy in perfect self-satisfaction and a conviction of the dignity and desirableness of its lot as in former days. Human nature is above all things—lazy. Every one confesses in the abstract that exertion which brings out all the powers of body and mind is the best thing for us all; but practically most people do all they can to get rid of it, and as a general rule nobody does much more than circumstances drive him to do. Even I would not write this article were not the publication-day hard on my heels. I should read Hawthorne and Emerson and Holmes, and dream in my armchair, and project in the clouds those lovely unwritten stories that curl and veer and change like mist-wreaths in the sun. So also, however dignified, however invigorating, however really desirable, are habits of life involving daily physical toil, there is a constant evil demon at every one's elbow, seducing him to evade it, or to bear its weight with sullen, discontented murmurs.

I will venture to say that there are at least, to speak very moderately, a hundred houses where these humble lines will be read and discussed, where there are no servants except the ladies of the household. I will venture to say, also, that these households, many of them, are not inferior in the air of cultivation and refined elegance to many which are conducted by the ministration of domestics. I will venture to assert furthermore that these same ladies who live thus find quite as much time for reading, letter-writing, drawing, embroidery, and fancy work as the women of families otherwise arranged. I am quite certain that they would be found on an average to be in the enjoyment of better health, and more of that sense of capability and vitality which gives one confidence in one's ability to look into life and meet it with cheerful courage, than three quarters of the women who keep servants; and that, on the whole, their domestic establishment is regulated more exactly to their mind, their food prepared and served more to their taste. And yet, with all this, I will not venture to assert that they are satisfied with this way of living, and that they would not change it forthwith if they could. They have a secret feeling all the while that they are being abused, that they are working harder than they ought to, and that women who live in their houses like boarders, who have only to speak and it is done, are the truly enviable ones. One after another of their associates, as opportunity offers and means increase, deserts the ranks, and commits her domestic affairs to the hands of hired servants. Self-respect takes the alarm. Is it altogether genteel to live as we do? To be sure, we are accustomed to it; we have it all systematized and arranged; the work of our own hands suits us better than any we can hire; in fact, when we do hire, we are discontented and uncomfortable, for who will do for us what we will do for ourselves? But when we have company! there's the rub, to get out all our best things and put them back,—to cook the meals and wash the dishes ingloriously,—and to make all appear as if we didn't do it, and had servants like other people.

There, after all, is the rub. A want of hardy self-respect, an unwillingness to face with dignity the actual facts and necessities of our situation in life,—this, after all, is the worst and most dangerous feature of the case. It is the same sort of pride which makes Smilax think he must hire a waiter in white gloves, and get up a circuitous dinner party on English principles, to entertain a friend from England. Because the friend in England lives in such and such a style, he must make believe for a day that he lives so, too, when in fact it is a whirlwind in his domestic establishment equal to a removal or a fire, and threatens the total extinction of Mrs. Smilax. Now there are two principles of hospitality that people are very apt to overlook. One is, that their guests like to be made at home, and treated with confidence; and another is, that people are always interested in the details of a way of life that is new to them. The Englishman comes to America as weary of his old, easy, family-coach life as you can be of yours: he wants to see something new under the sun,—something American; and forthwith we all bestir ourselves to give him something as near as we can fancy exactly like what he is already tired of. So city people come to the country, not to sit in the best parlor and to see the nearest imitation of city life, but to lie on the haymow, to swing in the barn, to form intimacy with the pigs, chickens, and ducks, and to eat baked potatoes, exactly on the critical moment when they are done, from the oven of the cooking-stove,—and we remark, en passant, that nobody has ever truly eaten a baked potato unless he has seized it at that precise and fortunate moment.

I fancy you now, my friends, whom I have in my eye. You are three happy women together. You are all so well that you know not how it feels to be sick. You are used to early rising, and would not lie in bed if you could. Long years of practice have made you familiar with the shortest, neatest, most expeditious method of doing every household office, so that really, for the greater part of the time in your house, there seems to a looker-on to be nothing to do. You rise in the morning and dispatch your husband, father, and brothers to the farm or wood-lot; you go sociably about chatting with each other, while you skim the milk, make the butter, turn the cheeses. The forenoon is long; it's ten to one that all the so-called morning work is over, and you have leisure for an hour's sewing or reading before it is time to start the dinner preparations. By two o'clock your housework is done, and you have the long afternoon for books, needlework, or drawing,—for perhaps there is among you one with a gift at her pencil. Perhaps one of you reads aloud while the others sew, and you manage in that way to keep up with a great deal of reading. I see on your bookshelves Prescott, Macaulay, Irving, besides the lighter fry of poems and novels, and, if I mistake not, the friendly covers of the "Atlantic." When you have company, you invite Mrs. Smith or Brown or Jones to tea: you have no trouble—they come early, with their knitting or sewing; your particular crony sits with you by your polished stove while you watch the baking of those light biscuits and tea rusks for which you are so famous, and Mrs. Somebodyelse chats with your sister, who is spreading the table with your best china in the best room. When tea is over, there is plenty of volunteering to help you wash your pretty India teacups, and get them back into the cupboard. There is no special fatigue or exertion in all this, though you have taken down the best things and put them back, because you have done all without anxiety or effort, among those who would do precisely the same if you were their visitors.

But now comes down pretty Mrs. Simmons and her pretty daughter to spend a week with you, and forthwith you are troubled. Your youngest, Fanny, visited them in New York last fall, and tells you of their cook and chambermaid, and the servant in white gloves that waits on the table. You say in your soul, "What shall we do? they never can be contented to live as we do; how shall we manage?" And now you long for servants.

This is the very time that you should know that Mrs. Simmons is tired to death of her fine establishment, and weighed down with the task of keeping the peace among her servants. She is a quiet soul, dearly loving her ease and hating strife; and yet last week she had five quarrels to settle between her invaluable cook and the other members of her staff, because invaluable cook, on the strength of knowing how to get up state dinners and to manage all sorts of mysteries which her mistress knows nothing about, asserts the usual right of spoiled favorites to insult all her neighbors with impunity, and rule with a rod of iron over the whole house. Anything that is not in the least like her own home and ways of living will be a blessed relief and change to Mrs. Simmons. Your clean, quiet house, your delicate cookery, your cheerful morning tasks, if you will let her follow you about, and sit and talk with you while you are at your work, will all seem a pleasant contrast to her own life. Of course, if it came to the case of offering to change lots in life, she would not do it; but very likely she thinks she would, and sighs over and pities herself, and thinks sentimentally how fortunate you are, how snugly and securely you live, and wishes she were as untrammeled and independent as you. And she is more than half right; for, with her helpless habits, her utter ignorance of the simplest facts concerning the reciprocal relations of milk, eggs, butter, saleratus, soda, and yeast, she is completely the victim and slave of the person she pretends to rule.

Only imagine some of the frequent scenes and rehearsals in her family. After many trials, she at last engages a seamstress who promises to prove a perfect treasure,—neat, dapper, nimble, skillful, and spirited. The very soul of Mrs. Simmons rejoices in heaven. Illusive bliss! The newcomer proves to be no favorite with Madam Cook, and the domestic fates evolve the catastrophe, as follows. First, low murmur of distant thunder in the kitchen; then a day or two of sulky silence, in which the atmosphere seems heavy with an approaching storm. At last comes the climax. The parlor door flies open during breakfast. Enter seamstress in tears, followed by Mrs. Cook, with a face swollen and red with wrath, who tersely introduces the subject-matter of the drama in a voice trembling with rage.

"Would you be plased, ma'am, to suit yerself with another cook? Me week will be up next Tuesday, and I want to be going."

"Why, Bridget, what's the matter?"

"Matter enough, ma'am! I niver could live with them Cork girls in a house, nor I won't; them as likes the Cork girls is welcome for all me; but it's not for the likes of me to live with them, and she been in the kitchen a-upsettin' of me gravies with her flatirons and things."

Here bursts in the seamstress with a whirlwind of denial, and the altercation wages fast and furious, and poor, little, delicate Mrs. Simmons stands like a kitten in a thunderstorm in the midst of a regular Irish row.

Cook, of course, is sure of her victory. She knows that a great dinner is to come off Wednesday, and that her mistress has not the smallest idea how to manage it, and that therefore, whatever happens, she must be conciliated.

Swelling with secret indignation at the tyrant, poor Mrs. Simmons dismisses her seamstress with longing looks. She suited her mistress exactly, but she didn't suit cook!

Now, if Mrs. Simmons had been brought up in early life with the experience that you have, she would be mistress in her own house. She would quietly say to Madam Cook, "If my family arrangements do not suit you, you can leave. I can see to the dinner myself." And she could do it. Her well-trained muscles would not break down under a little extra work; her skill, adroitness, and perfect familiarity with everything that is to be done would enable her at once to make cooks of any bright girls of good capacity who might still be in her establishment; and, above all, she would feel herself mistress in her own house. This is what would come of an experience in doing her own work as you do. She who can at once put her own trained hand to the machine in any spot where a hand is needed never comes to be the slave of a coarse, vulgar Irishwoman.

So, also, in forming a judgment of what is to be expected of servants in a given time, and what ought to be expected of a given amount of provisions, poor Mrs. Simmons is absolutely at sea. If even for one six months in her life she had been a practical cook, and had really had the charge of the larder, she would not now be haunted, as she constantly is, by an indefinite apprehension of an immense wastefulness, perhaps of the disappearance of provisions through secret channels of relationship and favoritism. She certainly could not be made to believe in the absolute necessity of so many pounds of sugar, quarts of milk, and dozens of eggs, not to mention spices and wine, as are daily required for the accomplishment of Madam Cook's purposes. But though now she does suspect and apprehend, she cannot speak with certainty. She cannot say, "I have made these things. I know exactly what they require. I have done this and that myself, and know it can be done, and done well, in a certain time." It is said that women who have been accustomed to doing their own work become hard mistresses. They are certainly more sure of the ground they stand on,—they are less open to imposition,—they can speak and act in their own houses more as those "having authority," and therefore are less afraid to exact what is justly their due, and less willing to endure impertinence and unfaithfulness. Their general error lies in expecting that any servant ever will do as well for them as they will do for themselves, and that an untrained, undisciplined human being ever can do housework, or any other work, with the neatness and perfection that a person of trained intelligence can. It has been remarked in our armies that the men of cultivation, though bred in delicate and refined spheres, can bear up under the hardships of camp-life better and longer than rough laborers. The reason is, that an educated mind knows how to use and save its body, to work it and spare it, as an uneducated mind cannot; and so the college-bred youth brings himself safely through fatigues which kill the unreflective laborer. Cultivated, intelligent women, who are brought up to do the work of their own families, are labor-saving institutions. They make the head save the wear of the muscles. By forethought, contrivance, system, and arrangement, they lessen the amount to be done, and do it with less expense of time and strength than others. The old New England motto, Get your work done up in the forenoon, applied to an amount of work which would keep a common Irish servant toiling from daylight to sunset.

A lady living in one of our obscure New England towns, where there were no servants to be hired, at last by sending to a distant city succeeded in procuring a raw Irish maid of all work, a creature of immense bone and muscle, but of heavy, unawakened brain. In one fortnight she established such a reign of Chaos and old Night in the kitchen and through the house that her mistress, a delicate woman, incumbered with the care of young children, began seriously to think that she made more work each day than she performed, and dismissed her. What was now to be done? Fortunately, the daughter of a neighboring farmer was going to be married in six months, and wanted a little ready money for her trousseau. The lady was informed that Miss So-and-so would come to her, not as a servant, but as hired "help." She was fain to accept any help with gladness. Forthwith came into the family circle a tall, well-dressed young person, grave, unobtrusive, self-respecting, yet not in the least presuming, who sat at the family table and observed all its decorums with the modest self-possession of a lady. The newcomer took a survey of the labors of a family of ten members, including four or five young children, and, looking, seemed at once to throw them into system, matured her plans, arranged her hours of washing, ironing, baking, cleaning, rose early, moved deftly, and in a single day the slatternly and littered kitchen assumed that neat, orderly appearance that so often strikes one in New England farmhouses. The work seemed to be all gone. Everything was nicely washed, brightened, put in place, and stayed in place: the floors, when cleaned, remained clean; the work was always done, and not doing; and every afternoon the young lady sat neatly dressed in her own apartment, either writing letters to her betrothed, or sewing on her bridal outfit. Such is the result of employing those who have been brought up to do their own work. That tall, fine-looking girl, for aught we know, may yet be mistress of a fine house on Fifth Avenue; and, if she is, she will, we fear, prove rather an exacting mistress to Irish Biddy and Bridget; but she will never be threatened by her cook and chambermaid, after the first one or two have tried the experiment.

* * * * *

Having written thus far on my article I laid it aside till evening, when, as usual, I was saluted by the inquiry, "Has papa been writing anything to-day?" and then followed loud petitions to hear it; and so I read as far, reader, as you have.

"Well, papa," said Jenny, "what are you meaning to make out there? Do you really think it would be best for us all to try to go back to that old style of living you describe? After all, you have shown only the dark side of an establishment with servants, and the bright side of the other way of living. Mamma does not have such trouble with her servants; matters have always gone smoothly in our family; and, if we are not such wonderful girls as those you describe, yet we may make pretty good housekeepers on the modern system, after all."

"You don't know all the troubles your mamma has had in your day," said my wife. "I have often, in the course of my family history, seen the day when I have heartily wished for the strength and ability to manage my household matters as my grandmother of notable memory managed hers. But I fear that those remarkable women of the olden times are like the ancient painted glass,—the art of making them is lost; my mother was less than her mother, and I am less than my mother."

"And Marianne and I come out entirely at the little end of the horn," said Jenny, laughing; "yet I wash the breakfast cups and dust the parlors, and have always fancied myself a notable housekeeper."

"It is just as I told you," I said. "Human nature is always the same. Nobody ever is or does more than circumstances force him to be and do. Those remarkable women of old were made by circumstances. There were, comparatively speaking, no servants to be had, and so children were trained to habits of industry and mechanical adroitness from the cradle, and every household process was reduced to the very minimum of labor. Every step required in a process was counted, every movement calculated; and she who took ten steps, when one would do, lost her reputation for 'faculty.' Certainly such an early drill was of use in developing the health and the bodily powers, as well as in giving precision to the practical mental faculties. All household economies were arranged with equal niceness in those thoughtful minds. A trained housekeeper knew just how many sticks of hickory of a certain size were required to heat her oven, and how many of each different kind of wood. She knew by a sort of intuition just what kind of food would yield the most palatable nutriment with the least outlay of accessories in cooking. She knew to a minute the time when each article must go into and be withdrawn from her oven; and, if she could only lie in her chamber and direct, she could guide an intelligent child through the processes with mathematical certainty. It is impossible, however, that anything but early training and long experience can produce these results, and it is earnestly to be wished that the grandmothers of New England had only written down their experiences for our children; they would have been a mine of maxims and traditions, better than any other traditions of the elders which we know of."

"One thing I know," said Marianne, "and that is, I wish I had been brought up so, and knew all that I should, and had all the strength and adroitness that those women had. I should not dread to begin housekeeping, as I now do. I should feel myself independent. I should feel that I knew how to direct my servants, and what it was reasonable and proper to expect of them; and then, as you say, I shouldn't be dependent on all their whims and caprices of temper. I dread those household storms, of all things."

Silently pondering these anxieties of the young expectant housekeeper, I resumed my pen, and concluded my paper as follows:—

* * * * *

In this country, our democratic institutions have removed the superincumbent pressure which in the Old World confines the servants to a regular orbit. They come here feeling that this is somehow a land of liberty, and with very dim and confused notions of what liberty is. They are for the most part the raw, untrained Irish peasantry, and the wonder is, that, with all the unreasoning heats and prejudices of the Celtic blood, all the necessary ignorance and rawness, there should be the measure of comfort and success there is in our domestic arrangements. But, so long as things are so, there will be constant changes and interruptions in every domestic establishment, and constantly recurring interregnums when the mistress must put her own hand to the work, whether the hand be a trained or an untrained one. As matters now are, the young housekeeper takes life at the hardest. She has very little strength,—no experience to teach her how to save her strength. She knows nothing experimentally of the simplest processes necessary to keep her family comfortably fed and clothed; and she has a way of looking at all these things which makes them particularly hard and distasteful to her. She does not escape being obliged to do housework at intervals, but she does it in a weak, blundering, confused way, that makes it twice as hard and disagreeable as it need be.