Elinor Wyllys-1 [19]
cares and toils allotted to them. One of Elinor's young friends, too, was lying on a sick-bed at Longbridge--a beautiful girl of her own age wasted by consumption; but she was calm and peaceful, though without hope this side the grave. We shall scarcely forgive ourselves for making even a distant allusion to one portion of Elinor's pleasures and labours, although more especially connected with home; since none could perform their religious duties with less ostentation, with more single-hearted sincerity--none could more carefully follow the precept, to "give with simplicity," than Miss Wyllys, and the niece she had educated.
{"Chesnut Street" = Chestnut Street, a fashionable street in Philadelphia}
Of course, the ladies had immediately resumed their intercourse with their old friends; and they had many neighbourly visits to pay. Not your formal, fashionable morning calls, lasting just three minutes, when you are so unfortunate as to find at home the individual you are paying off; no, indeed; good, honest visits of nearly an hour's length, giving time to exchange many kindly inquiries as to the health of all the members of the family, the condition of the garden, and promises of the crops; and even occasionally allowing Mr. Wyllys to take a look at some addition to the live-stock, in the shape of calves, colts, or pigs. Then, Mrs. Bernard had just moved into a new house, whose comforts and conveniences must certainly be shown by herself, and appreciated by her friends. Then, Elinor had to kiss, and make acquaintance with several tiny pieces of humanity, in white frocks and lace caps--little creatures born during the past winter; of course, the finest babies one could wish to see, and the delight of their parents' hearts. Then, Alida Van Horne was going to be married; as Elinor was to be her bridesmaid, a great deal of talking and consulting took place on the occasion, as matter of course. But, although her time was fully occupied in many different ways, no day was too pleasant or too busy for more than one thought to be given to Harry Hazlehurst.
CHAPTER V.
"Anch' io son pittore!" CORREGGIO.
{"Anch' io son pittore" = "I too, am a painter!" (Italian). Antonio Allegri da Correggio (Italian painter, 1494-1534), exclamation on viewing Raphael's "St. Cecilia" at Bologna (1525)}
THERE was one subject, in which the family at Wyllys-Roof felt particularly interested just then, and that was, Charlie Hubbard's picture. This piece was to decide finally the question, whether Charlie should be an artist, or a merchant's clerk; a question which he himself considered all important, and which caused much anxiety to his friends.
The house in which the Hubbards lived was a grey, wooden cottage, of the smallest size; curious gossips had, indeed, often wondered how it had ever been made to contain a large family; but some houses, like certain purses, possess capabilities of expansion, quite independent of their apparent size, and connected by mysterious sympathies with the heads and hearts of their owners. This cottage belonged to the most ancient and primitive style of American architecture; what may be called the comfortable, common sense order--far superior, one might suppose to either Corinthian or Composite, for a farm-house. The roof was low, and unequally divided, stretching, on one side, with a long, curving slope, over the southern front; which was scarce seven feet high: towards the road the building was a little more elevated, for a dormer-window gave it the dignity of a story and a half. Not only the roof, but the walls--we have classical authority for wooden walls--were covered with rounded shingles, long since grey, and in spots, moss-grown. Twice the cottage had escaped a more brilliant exterior; upon one occasion it had been inhabited by an ambitious family, who talked of a coat of red paint; fortunately, they moved away, before concluding a bargain with the painter. Again, when the Hubbards took possession of the 'old grey house,' a committee of ladies actually drove over from Longbridge, with the intention
{"Chesnut Street" = Chestnut Street, a fashionable street in Philadelphia}
Of course, the ladies had immediately resumed their intercourse with their old friends; and they had many neighbourly visits to pay. Not your formal, fashionable morning calls, lasting just three minutes, when you are so unfortunate as to find at home the individual you are paying off; no, indeed; good, honest visits of nearly an hour's length, giving time to exchange many kindly inquiries as to the health of all the members of the family, the condition of the garden, and promises of the crops; and even occasionally allowing Mr. Wyllys to take a look at some addition to the live-stock, in the shape of calves, colts, or pigs. Then, Mrs. Bernard had just moved into a new house, whose comforts and conveniences must certainly be shown by herself, and appreciated by her friends. Then, Elinor had to kiss, and make acquaintance with several tiny pieces of humanity, in white frocks and lace caps--little creatures born during the past winter; of course, the finest babies one could wish to see, and the delight of their parents' hearts. Then, Alida Van Horne was going to be married; as Elinor was to be her bridesmaid, a great deal of talking and consulting took place on the occasion, as matter of course. But, although her time was fully occupied in many different ways, no day was too pleasant or too busy for more than one thought to be given to Harry Hazlehurst.
CHAPTER V.
"Anch' io son pittore!" CORREGGIO.
{"Anch' io son pittore" = "I too, am a painter!" (Italian). Antonio Allegri da Correggio (Italian painter, 1494-1534), exclamation on viewing Raphael's "St. Cecilia" at Bologna (1525)}
THERE was one subject, in which the family at Wyllys-Roof felt particularly interested just then, and that was, Charlie Hubbard's picture. This piece was to decide finally the question, whether Charlie should be an artist, or a merchant's clerk; a question which he himself considered all important, and which caused much anxiety to his friends.
The house in which the Hubbards lived was a grey, wooden cottage, of the smallest size; curious gossips had, indeed, often wondered how it had ever been made to contain a large family; but some houses, like certain purses, possess capabilities of expansion, quite independent of their apparent size, and connected by mysterious sympathies with the heads and hearts of their owners. This cottage belonged to the most ancient and primitive style of American architecture; what may be called the comfortable, common sense order--far superior, one might suppose to either Corinthian or Composite, for a farm-house. The roof was low, and unequally divided, stretching, on one side, with a long, curving slope, over the southern front; which was scarce seven feet high: towards the road the building was a little more elevated, for a dormer-window gave it the dignity of a story and a half. Not only the roof, but the walls--we have classical authority for wooden walls--were covered with rounded shingles, long since grey, and in spots, moss-grown. Twice the cottage had escaped a more brilliant exterior; upon one occasion it had been inhabited by an ambitious family, who talked of a coat of red paint; fortunately, they moved away, before concluding a bargain with the painter. Again, when the Hubbards took possession of the 'old grey house,' a committee of ladies actually drove over from Longbridge, with the intention