Elinor Wyllys-1 [26]
a full supply of models for mediocrity to copy, and for talent to rival. It is evident, that common sense requires us to pursue one of two courses; either to give true talent, in every field--in literature, in music, painting, sculpture, architecture--some share of the honourable encouragement which is its due, or else honestly to resign all claim to national merit, in these branches of civilization; leaving the honour to the individual. As neither the government, nor men singly, can do much toward encouraging the arts, this would seem to be the very field in which societies might hope to produce great results. Would it not be a good innovation, if those who often unite to present some public testimonial of respect to an individual, should select, instead of the piece of plate, usual on such occasions, a picture or work of sculpture? Either, it is to be supposed, if respectable in its way, would be a more agreeable offering, to a person of education, than gold or silver in the shape most modern workmen give them. Under such circumstances, who would not prefer a picture by Cole or Wier {sic}, a statue like Greenough's Medora, Power's Eve, or Crawford's Orpheus, to all the silver salvers in New York? Who would not prefer even a copy from some fine bust or head of antiquity, from some celebrated cabinet picture, to the best medal that has yet been struck in this country?
{"Cole" = Thomas Cole (1801-1848), American painter and founder of the so-called Hudson River School of landscape painting; "Wier" = Robert Weir (1803-1889), another American landscape painter; "Greenough" = Horatio Greenough (1805-1852), American sculptor, and a close friend of Susan Fenimore Cooper's father; "Power" = Hiram Powers (1805-1873), another famous American sculptor; "Crawford" = Thomas Crawford (1813-1857), another American sculptor, whose statue of Orpheus was purchased by the Boston Athenaeum; "cabinet picture" = picture exhibited in a gallery or museum}
Thoughts like these were passing through Mr. Wyllys's mind, as he sat looking at Charlie's picture. Mrs. Taylor had, in the mean time, been making arrangements for her younger children to enter Miss Patsey's school for the summer. Mr. Taylor having joined the ladies, something was heard about 'terms,' and the affair appeared settled. Miss Agnes having mentioned to Mrs. Taylor that she had intended calling on her, but would now postpone it until another day, she was so strongly urged to accompany them home, that she consented to do so, aware that the visit should have been paid some time before. Accordingly, they all left the Hubbards together.
It was not often that Miss Patsey's little parlour was so full, and so much littered, as it had been that afternoon; it generally looked crowded, if it contained two or three persons besides the minister's portrait, and was thought out of order, if the large rocking-chair, or the clumsy, old-fashioned tea-table did not stand in the very positions they had occupied for the last twelve years.
Very different was the aspect of things at Mr. Taylor's. Not that the rooms were imposing, in size, but the elegance of the furniture was so very striking. Of course, there were two drawing-rooms, with folding-doors and Brussels carpets; while everything corresponded to a fashionable model. Mrs. Taylor, good soul, cared very little for these vanities of life. The window-blinds, in her two drawing-rooms, were never opened, except for some occasional morning visiter or evening tea-party; she herself used what she called the 'living room,' where she could have her younger children about her, and darn as many stockings as she chose. The drawing-rooms were opened, however, for the Wyllyses, who were urged to stay to tea. Miss Agnes declined the invitation, though Mr. Wyllys and herself remained long enough to look at the plan of a new house, which Mr. Taylor was to build shortly; it was to be something quite grand, far surpassing anything of the kind in the neighbourhood, for Mr. Taylor had made a mint of money during the past winter.
CHAPTER VI.
"What
{"Cole" = Thomas Cole (1801-1848), American painter and founder of the so-called Hudson River School of landscape painting; "Wier" = Robert Weir (1803-1889), another American landscape painter; "Greenough" = Horatio Greenough (1805-1852), American sculptor, and a close friend of Susan Fenimore Cooper's father; "Power" = Hiram Powers (1805-1873), another famous American sculptor; "Crawford" = Thomas Crawford (1813-1857), another American sculptor, whose statue of Orpheus was purchased by the Boston Athenaeum; "cabinet picture" = picture exhibited in a gallery or museum}
Thoughts like these were passing through Mr. Wyllys's mind, as he sat looking at Charlie's picture. Mrs. Taylor had, in the mean time, been making arrangements for her younger children to enter Miss Patsey's school for the summer. Mr. Taylor having joined the ladies, something was heard about 'terms,' and the affair appeared settled. Miss Agnes having mentioned to Mrs. Taylor that she had intended calling on her, but would now postpone it until another day, she was so strongly urged to accompany them home, that she consented to do so, aware that the visit should have been paid some time before. Accordingly, they all left the Hubbards together.
It was not often that Miss Patsey's little parlour was so full, and so much littered, as it had been that afternoon; it generally looked crowded, if it contained two or three persons besides the minister's portrait, and was thought out of order, if the large rocking-chair, or the clumsy, old-fashioned tea-table did not stand in the very positions they had occupied for the last twelve years.
Very different was the aspect of things at Mr. Taylor's. Not that the rooms were imposing, in size, but the elegance of the furniture was so very striking. Of course, there were two drawing-rooms, with folding-doors and Brussels carpets; while everything corresponded to a fashionable model. Mrs. Taylor, good soul, cared very little for these vanities of life. The window-blinds, in her two drawing-rooms, were never opened, except for some occasional morning visiter or evening tea-party; she herself used what she called the 'living room,' where she could have her younger children about her, and darn as many stockings as she chose. The drawing-rooms were opened, however, for the Wyllyses, who were urged to stay to tea. Miss Agnes declined the invitation, though Mr. Wyllys and herself remained long enough to look at the plan of a new house, which Mr. Taylor was to build shortly; it was to be something quite grand, far surpassing anything of the kind in the neighbourhood, for Mr. Taylor had made a mint of money during the past winter.
CHAPTER VI.
"What