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      Concord Days

      APRIL

      Come again into my study, having sat some time for greater comfort in the sunnier east room by an open fire, as needful in our climate, almost, as in that of changeable England. Busy days these last, with a little something to show for them. After all, I am here most at home, and myself surrounded by friendly pictures and books, free to follow the mood of the moment, – read, write, recreate. I wish more came of it all. Here are these voluminous diaries, showy seen from without, with far too little of life transcribed within. Was it the accident of being shown, when a boy, in the old oaken cabinet, my mother's little journal, that set me out in this chase of myself, continued almost uninterruptedly, and now fixed by habit as a part of the day, like the rising and setting of the sun? Yet it has educated me into whatever skill I possess with the pen, I know not to how much besides; has made me emulous of attaining the art of portraying my thoughts, occupations, surroundings, friendships; and could I succeed in sketching to the life a single day's doings, should esteem myself as having accomplished the chiefest feat in literature. Yet the nobler the life and the busier, the less, perhaps, gets written, and that which is, the less rewards perusal.

      All is in the flowing moments. But who shall arrest these and fix the features of the passing person behind the pageantry, and write the diary of one's existence?

      My neighbors flatter me in telling me that I have one of the best placed and most picturesque houses in our town. I know very well the secret of what they praise. 'Tis simply adapting the color and repairs to the architecture, and holding these in keeping with the spot.

      A house, like a person, invites by amiable reserves, as if it loved to be introduced in perspective and reached by courteous approaches. Let it show bashfully behind shrubberies, screen its proportions decorously in plain tints, not thrust itself rudely, like an inn, upon the street at cross-roads. A wide lawn in front, sloping to the road gracefully, gives it the stately air and courtly approach. I like the ancient mansions for this reason; these old Puritan residences for their unpretending air, their sober tints, in strict keeping with Wordsworth's rule of coloring, viz. that of the sod about the grounds. A slight exaltation of this defines best the architecture by distinguishing it from surrounding objects in the landscape. Modest tints are always becoming. White and red intolerable. And for some variety in dressing, the neighboring barks of shrubbery suggest and best characterize the coloring.

      As for fences and gates, I was told that mine were unlike any other in the world, yet as good as anybody's, hereby meaning to praise them, I infer. If less durable than others, the cost is inconsiderable, and has the associated pleasure, besides, of having come out of such ideal capital as I had invested in my own head and hands. A common carpenter would have spent more time in planing and fixing his pickets and set something in straight lines with angular corners to deform the landscape; then the painter must have followed with some tint mixed neither by nature nor art. Now my work delights my eyes whenever I step out-of-doors, adding its ornament to the spot. Grotesque it may be with its knotted ornaments, Druid supports, yet in keeping with the woods behind it. Besides, what pleasure the construction has given! Form, color, ornamentation alike concern builder and occupant, as they were blossoms of his taste and of the landscape. A good architect is both builder and colorist, and should be a good man besides, according to the ancient authorities. Roman Vitruvius claims as much, if not more, of him: —

      "It is necessary," he says, "that an architect should be instructed in the precepts of moral philosophy; for he ought to have a great soul, and be bold without arrogance, just, faithful, and totally exempt from avarice. He should have a great docility, which may hinder him from neglecting the advice that is given him, not only of the meanest artist, but also of those that understand nothing of architecture; for not only architects but all the world must judge his works."

      Houses have their history, are venerable on account of their age and origin. Even our newly-settled country of but a century or two has already crowned homesteads still standing with royal honors. Mine, I conjecture, is not far from one hundred and fifty years' standing. It was a first-class country house in its day, with its window-seats in parlor and chambers, ornamental summers and casements, its ample fireplaces, and lean-to on the northern side. Like most of its period it was open to the road with overshadowing elms still embowering the mansion; had a lion-headed door-knocker, and huge chimney-tops surmounting the gables. Of learned ancestry, moreover; having been the homestead of a brother of President Hoar, of Harvard College, and remained in possession of members of that venerable family down to near the beginning of the present century. The site is hardly surpassed by any on the old Boston road; the woods behind crowning the range of hills running north almost to the village, and bordering east on Wayside, Hawthorne's last residence. It must have been chosen by an original settler, probably coming with the Rev. Peter Bulkeley from England, in 1635.1

      The ancient elms before the house, of a hundred years' standing and more, are the pride of the yard. It were sacrilege to remove a limb or twig unless decayed, so luxuriant and far-spreading, overshadowing the roof and gables, yet admitting the light into hall and chambers. Sunny rooms, sunny household. "Build your house," says a mystic author, "upon a firm foundation, and let your aspect be towards the east, where the sun rises, that so you may enjoy its fruitfulness in your household and orchards."

      Whether the first settler planted these elms, or whether they are survivors of the primitive forest which was felled to make way and room for the rude shelter of the hardy settlers, is not ascertained. Their roots penetrate primitive soil; the surrounding grounds have become productive by the industry and skill, mellowed and meliorated by the humanities of their descendants. They came honestly by their homesteads, paying their swarthy claimants fair prices for them; the landscape is still inviting by its prairie aspects, its brook-sides and meadows where the red men trod.

      It was these broad meadows beside the "Grass ground River" that tempted alike the white and red man, – the one for pasturage, the other for fishing, – and brought the little colony through the wilderness to form the settlement named "Musketaquid," after the river of that name (signifying grass ground), and later taking that of Concord, not without note in history.

      The view from the rustic seat overlooking my house commands the amphitheatre in which the house stands, and through which flows Mill brook, bordered on the south and east by the Lincoln woods. It is a quiet prospect and might be taken for an English landscape; needs but a tower or castle overtopping the trees surrounding it. The willows by the rock bridge over the brook, the winding lane once the main track of travel before the turnpike branching off from the old Boston road by Emerson's door was built, adds to the illusion, while on the east stands the pine-clad hill, Hawthorne's favorite haunt, and hiding his last residence from sight.

      On the southwest is an ancient wood, Thoreau's pride, beyond which is Walden Pond, distant about a mile from my house, and best reached by the lane opening opposite Hawthorne's. Fringed on all sides by woods, the interval, once a mill pond, is now in meadow and garden land, the slopes planted in vineyards, market gardens and orchards lining the road along which stand the farmers' houses visible in the opening.

      This road

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