LITMIR.BIZ

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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, æsthetic, 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

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