EUPHORION.

EUPHORION."I will not longerEarth-bound linger:Loosen your hold onHand and on ringlet.Girdle and garment;Leave them: they're mine!""Bethink thee, bethink theeTo whom thou belongest!Say, wouldst thou wound us,Rudely destroyingThreefold the beauty,—Mine, his, and thine?"FAUST,—SECOND PART.Nay, fold your arms, beloved Friends,Above the hearts that vainly beat!Or catch the rainbow where it bends,And find your darling at its feet;Or fix the fountain's varying shape,The sunset-cloud's elusive dye,The speech of winds that round the capeMake music to the sea and sky:So may you summon from the airThe loveliness that vanished hence,And Twilight give his beauteous hair,And Morning give his countenance,And Life about his being claspHer rosy girdle once again:—But no! let go your stubborn graspOn some wild hope, and take your pain!For, through the crystal of your tears,His love and beauty fairer shine;The shadows of advancing yearsDraw back, and leave him all divine.And Death, that took him, cannot claimThe smallest vesture of his birth,—The little life, a dancing flameThat hovered o'er the hills of earth,—The finer soul, that unto oursA subtle perfume seemed to be,Like incense blown from April flowersBeside the scarred and stormy tree,—The wondering eyes, that ever sawSome fleeting mystery in the air,And felt the stars of evening drawHis heart to silence, childhood's prayer!Our suns were all too fierce for him;Our rude winds pierced him through and through;But Heaven has valleys cool and dim,And boscage sweet with starry dew.There knowledge breathes in balmy air,Not wrung, as here, with panting breast:The wisdom born of toil you share;But he, the wisdom born of rest.For every picture here that slept,A living canvas is unrolled;The silent harp he might have sweptLeans to his touch its strings of gold.Believe, dear Friends, they murmur stillSome sweet accord to those you play,That happier winds of Eden thrillWith echoes of the earthly lay;That he, for every triumph won,Whereto your poet-souls aspire,Sees opening, in that perfect sun,Another blossom's bud of fire!Each song, of Love and Sorrow born,Another flower to crown your boy,—Each shadow here his ray of morn,Till Grief shall clasp the hand of Joy!HOUSE-BUILDING.Because our architecture is bad, and because the architecture of our forefathers in the Middle Ages was good, Mr. Ruskin and others seem to think there is no salvation for us until we build in the same spirit as they did. But that we should do so no more follows than that we should envy those geological ages when the club-mosses were of the size of forest-trees, and the frogs as big as oxen. There are many advantages to be had in the forests of the Amazon and the interior of Borneo,—inexhaustible fertility, endless water-power,—but no one thinks of going there to live.No age is without its attractions. There would be much to envy in the Greek or the Roman life, if we could have them clear of drawbacks. Many persons would be glad always to find Emerson in State Street, or sauntering in the Mall, ready to talk with all comers,—or to hear the latest words of Bancroft or Lowell from their own lips at the cattle-show or the militia-muster. The Roman villas had some excellent features,—the peristyle of statues, the cryptoporticus with its midnight coolness and shade of a July noon, the mosaic floor, and the glimmering frescoes of the ceiling. But we are content to get our poets and historians in their books, and to take the pine-grove for our noonday walk, or to wait till night has transformed the street into a cryptoporticus nobler than Titus's. It is as history that these things charm us; but the charm vanishes, when, even in fancy, we bring them into contact with our actual lives. So it is with the medieval architecture. It is true, in studying these wonderful fossils, a regret for our present poverty, and a desire to appropriate something from the ancient riches, will at times come over us. But this feeling, if it be more than slight and transient, if it seriously influence our conduct, is somewhat factitious or somewhat morbid. Let us be a little disinterested in our admiration, and not, like children, cry for all we see. We have our share: let us leave the dead theirs.The fallacy lies in the supposition, that, besides all their advantages, they had all ours too. It is with our mental as with our bodily vision,—we see only what is remote; and the image to the mind depends, not only upon seeing, but uponnot seeing. In the distant star, all foulness and gloom are lost, and only the pure splendor reaches us. Inspired by Mr. Ruskin's eloquence, the neophyte sets forth with contrition to put his precepts into practice. But the counterstatement which he had overlooked does not, therefore, cease to exist. At the outset, he finds unexpected sacrifices are demanded. And, as money is the common measure of the forces disposable, the hindrances take the form of increase of cost. Before the first step can be taken towards doing anything as Mr. Ruskin would have it done, he discovers that at least it will cost enormously more to do it in that way. The lamps of truth and sacrifice demand such expensive nourishment, that he is forced to ask himself whether they are of themselves really sufficient to live by.It is not that we are poorer or more penurious than our ancestors, but that we have more wants than they, and that the new wants overshadow the old. What is spent in one direction must be spared in another. The matter-of-course necessaries of our life were luxuries or were unknown to them. First of all, the luxury of freedom,—political, social, and domestic,—with the habits it creates, is the source of great and ever-increasing expense. We are still much behindhand in this matter, and shall by-and-by spend more largely upon it. But, compared with our ancestors, individual culture, to which freedom is the means, absorbs a large share of our expenditure. The noble architecture of the thirteenth century was the work of corporations, of a society that knew only corporations, and where individual culture was a crime. Dante had made the discovery that it is the man that creates his own position, not the accident of birth. But his life shows how this belief isolated him. Nor was the coincidence between the artistic spirit of the age and its limitations accidental. Just in proportion as the spirit of individualism penetrated society, and began to show itself as the Renaissance, architecture declined. The Egyptian pyramids are marvels to us, because we are accustomed to look upon the laborer as a man. But once allow that he is only so much brute force,—cheap, readily available, and to be had in endless supply, but as a moral entity less to be respected than a cat or a heron, and the marvel ceases. Should not the building be great to which man himself is sacrificed? Later, the builders are no longer slaves; but man is still subordinate to his own work, adores the work of his hands. This stands for him, undertakes to represent him, though, from its partial nature, it can only typify certain aspects or functions of him. A Gothic cathedral is an attempt at a universal expression of humanity, a stone image of society, in which each particle, insignificant by itself, has its meaning in the connection. It was the fresh interest in the attempt that gave birth to that wonderful architecture. This is the interest it still has, but now only historical, since the discovery was made that the particle is greater than the mass,—that it is for the sake of the individual that society and its institutions exist. Ever since, a process of disintegration has been going on, resulting in a progressive reversal of the previous relation. Not the private virtues of the structure, but its uses, are now uppermost, and ever more and more developed. Even in our own short annals something of this process may be traced. Old gentlemen complain of the cost of our houses. The houses of their boyhood, they say, were handsomer and better built, yet cost less. There is some truth in this, for the race of architect-builders hardly reaches into this century. But if the comparison be pushed into details, we soon come to the conviction that the owners of these houses were persons whose habits were, in many respects, uncouth and barbarous. It is easy to provide in the lump; but with decency, privacy, independence,—in short, with a high degree of respect on the part of the members of the household for each other's individuality,—expense begins. Letarouilly says it is difficult to discover in the Roman palaces of the Renaissance any reference to special uses of the different apartments. It was to the outside, the vestibule, courtyard, and staircase, that care and study were given: the inside was intended only as a measure of the riches and importance of the owner, not as his habitation. The part really inhabited by him was themezzanino,—a low, intermediate story, where he and his family were kennelled out of the way. Has any admiring traveller ever asked himself how he could establish himself, with wife and children, in the Foscari or the Vendramin palace? To live in them, it would be necessary to build a house inside.Nor is there any ground for saying that the fault is in the builders,—that the old builders met the demands of their time, and would equally satisfy the demands of our time, without sacrifice of their art. The first demand in the days of good architecture was, that the building should have an independent artistic value beyond its use. This is what architecture requires; for architecture is building,pure,—building for its own sake, not as means. What Mr. Garbett says is, no doubt, quite true,—that nothing was ever made, for taste's sake, less efficient than it might have been. But many things were mademoreefficient than they might have been; or, rather, this is always the character of good architecture. It is in this surplus of perfection, above bare necessity, that its claim to rank among the fine arts consists. This character the builders of the good times, accordingly, never left out of sight; so that, if their means were limited, they lavished all upon one point,—made that overflow with riches, and left the rest plain and bare; never did they spread their pittance thin to cover the whole, as we do. It is for this reason that so few of the great cathedrals were finished, and that in buildings of all kinds we so often find the decoration in patches, sharply marked off from the rest of the structure. This noble profuseness is not, indeed, necessarily decoration; the essence of it is an independent value and interest in the building, aside from the temporary and accidental employment. The spires and the flying-buttresses of the Northern cathedrals cannot be defended on the ground of thrifty construction. The Italian churches accomplished that as well without either. How remote the reference to use in the mighty portals of Rheims, or the soaring vaultings of Amiens and Beauvais! Does anybody suppose that Michel Angelo, when he undertook to raise the dome of the Pantheon into the air, was thinking of the most economical way of roofing a given space? These fine works have their whole value as expression; it is with their visible contempt of thrift that our admiration begins. They pared away the stone to the minimum that safety demanded, and beyond it,—yet not from thrift, but to make the design more preëminent and necessary, and to owe as little as possible to the inert strength of the material.But though we admire the result, we have grown out of sympathy with the cause, the state of mind that produced it, and so the root wherefrom the like should be produced is cut off. There is no reason to suppose that the old builders were men of a different kind from ours, more earnest, more poetical. The stories about the science of the medieval masons are rubbish. All men are in earnest about something; our men are as good as they, and would have built as well, had they been born at the right time for it. But now they are thinking of other things. The Dilettanti Society sent Mr. Penrose to Athens to study in the ancient remains there the optical corrections which it was alleged the Greeks made in the horizontal lines of their buildings. Mr. Penrose made careful measurements, establishing the fact, and a folio volume of plates was published to illustrate the discovery, and evince the unequalled nicety of the Greek eye. But the main point, namely, that a horizontal line above the level of the eye, in order to appear horizontal, must bend slightly upwards, was pointed out to me years ago by a common plasterer.It is not that our builders are degenerate, but that their art is a trade, occupies only their hands, not their minds, and this by no fault in them or in anybody, but by the natural progress of the world. In each age by turn some one mental organ is in a state of hypertrophy; immediately that becomes the medium of expression,—not that it is the only possible or even the best, but that its time has come,—then it gives place to another. Architecture is dead and gone to dust long ago. We are not called upon to sing threnodies over it, still less to attempt to galvanize a semblance of life into it. If we must blame somebody, let it not be the builder, but his employers, who, caring less even than he for the reality of good architecture, (for the material itself teaches him something,) force him into these puerilities in order to gratify their dissolute fancies.If these views seem to any one low and prosaic, let me remind him that poetry does not differ from prose in being false. We must respect the facts. If there were in this country any considerable number of persons to whom the buildings they daily enter had any positive permanent value besides convenience,—who looked upon the church, the bank, or the house, as upon a poem or a statue,—the birth of a national architecture would be assured. But as the fact stands, while utility, and that of a temporary and makeshift sort, is really the first consideration, we are not yet ready to acknowledge this to others or to ourselves, and so fail to get from it what negative advantage we might, but blunder on under some fancied necessity, spending what we can ill spare, to the defrauding of legitimate demands, as a sort of sin-offering for our aesthetic deficiency, or as a blind to conceal it. The falsehood, like all falsehood, defeats itself; the pains we take only serve to make the failure more complete.This is displayed most fully in the doings of "Building Committees." Here we see what each member (perhaps it would be more just to say the least judicious among them) would do in his own case, were he free from the rude admonitions of necessity. He has at least to live in his own house, and so cannot escape some attention to the substantial requirements of it; though some houses, too, seem emancipated from such considerations, and to have been built for any end rather than to live in. But in catering for the public, it is theoutsidersalone that seem to be consulted, the careless passer-by, who for once will pause a moment to commend or to sneer at the façade,—not the persons whose lives for years, perhaps, are to be affected by the internal arrangement. It is doubtless from a suspicion, more or less obscure, of the incoherency of their purpose, that such committees usually fall into the hands of a "practical man,"—that is, a man impassive to principles, of hardihood or bluntness of perception enough to carry into effect their vague fancies, and spare them from coming face to face with their inconsistencies. Thus fairly adrift and kept adrift from the main purpose, there is no vagary impossible to them,—churches in which there is no hearing, hospitals contrived to develop disease, museums of tinder, libraries impossible to light or warm. And what gain comes to beauty from these sacrifices, let our streets answer. Good architecture requires before all things a definite aim, long persisted in. It never was an invention, anywhere, but always a gradual growth. What chance of that here?The only chance clearly is to cut away till we come to the solid ground of real, not fancied, requirement. As long as it is our whims, and not our necessities, that build, it matters little how much pains we take, how learned and assiduous we are. I have no hope of any considerable advantage from the abundant exhortation to frankness and genuineness in the use of materials, unless it lead first of all to a more frank and genuine consideration of the occasion for using the materials at all. If it lead only to open timber roofs and stone walls in place of the Renaissance stucco, I think the gain very questionable. The stucco is more comfortable, and at least we had got used to it. These are matters of detail: suppose your detailsaremore genuine, if the whole design is a sham, if the aim be only to excite the admiration of bystanders, the thing is not altered, whether the bystanders are learned in such matters or ignorant. The more excellent the work is in its kind, the more insidious and virulent the falsity, if the whole occasion of it be a pretence. If it must be false, let it by all means be gross and glaring,—we shall be the sooner rid of it.It may be asked whether, then, I surrender the whole matter of appearance,—whether the building may as well be ugly as beautiful. By no means; what I have said is in the interest of beauty, as far as it is possible to us. Positive beauty it may be often necessary to forego, but bad taste is never necessary. Ugliness is not mere absence of beauty, but absence of it where it ought to be present. It comes always from a disappointed expectation,—as where the lineaments that do not disgust in the potato meet us in the human face, or even in the hippopotamus, whom accordingly Nature kindly puts out of sight. It is bad taste that we suffer from,—not plainness, not indifference to appearance, but features misplaced, shallow mimicry of "effects" where their causes do not exist, transparent pretences of all kinds, forcing attention to the absence of the reality, otherwise perhaps unnoticed. The first step toward seemly building is to rectify the relation between the appearance and the uses of the building,—to give to each the weight that it really has with us, not what we fancy or are told it ought to have. Mr. Ruskin too often seems to imply that fine architecture is like virtue or the kingdom of Heaven: that, if it be sought first, all other things will be added. A sounder basis for design, beyond what is necessary to use, seems to me that proposed by Mr. Garbett, (to whom we are indebted for the most useful hints upon architecture,) namely, politeness, a decent regard for the eyes of other people (and for one's own, for politeness regards one's self as well). Politeness, however, as Mr. Garbett admits, is chiefly a negative art, and consists in abstaining and not meddling. The main character of the building being settled by the most unhesitating consideration of its uses, we are to see that it disfigures the world as little as possible.Let me, at the risk of tediousness, proceed to bring these generalities to a point by a few instances,—not intending to exhaust the topic, but only to exemplify the method of approaching it.The commonest case for counsel, and more common here than anywhere else, is where a man is to build for himself a house, especially in the country,—for town-houses are more governed by extraneous considerations. The first point is theaspect,—that the living-rooms be well open to the sun. Let no fancied advantages of view or of symmetrical position interfere with this. For they operate seldom and strike most at first, but the aspect tells on body and mind every day. It is astonishing how reckless people are of this vital point, suffering it to be determined for them by the direction of a road, or even of a division-fence,—as if they had never looked at their houses with their own eyes, but only with the casual view of a stranger. It does not follow, however, that the entrance must be on the sunny side, though this is generally best, as the loss of space in the rooms is more than made up by the cheeriness of the approach. For the same reason, unless you are sailing very close to the wind, let your entrance-hall be roomy. It is in no sense an unproductive outlay, for it avails above in chambers, and below in the refuge it affords to the children from the severer rules of the parlor.As to number and distribution of rooms, the field is somewhat wide. Here the differences of income, of pursuits, and the idiosyncrasies of taste come in; and more than all, not only are the circumstances originally different, but constantly varying. I speak not of the fluctuations of fortune, but of normal and expected changes. The young couple, or the old, are easily lodged. But in middle life,—since we are not content, like our forefathers, with bestowing our children out of sight,—it takes a great deal of room to provide for them on both floors, without either neglect or oppression, and to keep up the due oversight without sacrificing ourselves or them. For children are rather exclusive, and spoil for other use more room than they occupy. Here I counsel every man who must have a corner to himself to fix his study in the attic, for the only way to avoid noise without wasteful complication is to be above it.The smallest house must provide some escape from the dining-room. If dining-room and sitting-room are on the sunny side, and the entrance be also on that side, they will be separated, as indeed they always may be, without loss. The notion that the rooms must immediately connect is one of those whims to which houses are sacrificed. The only advantage is the facility for receiving company. But if the occasions when the guests will be too many for one room are likely to be frequent, rather than permanently spoil the living-room, it is better to set apart rooms for reception. Our position in this matter is in truth rather embarrassing. Formerly (and the view is not yet wholly obsolete) the whole house was a reception-hall, the domestic life of the inmates being a secondary matter, swept into some corner, such as the cells of the mediaeval castles or themezzaninoof the Italian palaces. But the austere aspect of the shut-up "best parlor" of our grandfathers, with its closed blinds and chilly chintz covers, showed that the tables were beginning to turn, and the household to assert its rights and civilly to pay off the guest for his usurpations. Henceforth he is welcome, but he is secondary; it was not for him that the house was built; and if it comes to choosing, he can be dispensed with. It would be very agreeable to unite with all the new advantages all the old,—the easy hospitality, the disengaged suavity of the ancient manners. Now the brow of the host is clouded, he has too much on his mind to play his part perfectly. It is not that good-will is wanting, but that life is more complicated. The burdens are more evenly distributed, and no class is free and at leisure. But to fret over our disadvantages, and to extol the past, is only to ignore the price that was paid for those advantages we covet. There was always somebody to sweat for that leisure. Would a society divided into castes be better? Or again, who would like to have his children sleep three in a bed, and live in the kitchen, in order that the best rooms should always be swept and garnished for company?In every case, unless a man is rich enough to have two houses in one, it comes to choice between domestic comfort and these occasional facilities. Direct connection of rooms usually involves the sacrifice of the chimney-corner, on one or both sides; for it is not pleasant to sit in a passage-way, even if it be rarely used. For use in cold weather the available portion of a room may be reckoned as limited by the door nearest the fireplace.It will be noticed that this supposes the use of open fireplaces. The open fireplace is not a necessary of life, but it is one of the first luxuries, and one that no man who can afford to eat meat every day can afford to dispense with. No furnace can supply the place of it; for, though the furnace is an indispensable auxiliary in severe cold, and though, well managed, it need not vitiate the air, yet, like all contrivances for supplying heated air instead of heat, it has the insurmountable defect of not warming the body directly, nor until all the surrounding air be warmed first, and thus stops the natural reaction and the brace and stimulus derived from it. Used exclusively, it amounts to voluntarily incurring the disadvantage of a tropical climate.Let the walls of the second story be upright. The recent fashion of a mansard or "French roof" is only making part of the wall of the house look like roof, at equal expense, at the sacrifice of space inside, and above all, of tightness. For, though shingles and even slates will generally keep out the rain, the innumerable cracks between the sides of them can never be made air-tight, and therefore admit heat and cold much more freely than any proper wall-covering. A covering of metal would be too good a conductor of external temperature,—while clapboarding would endanger the resemblance to a roof, which is the only gain proposed.As to the size of the house, it is important to observe that its cost does not depend so much upon the size of the rooms (within reasonable limits) as upon the number of them, the complication of plan, and the number of doors and windows. For every door or window you can omit you may add three or four feet to your house. The height of the stories will be governed by the area of the largest rooms;—what will please each person depends very much upon what he is used to. In the old New-England houses the stories were very low, often less than eight feet in the best rooms. In favor of low rooms it is to be remembered that they are more easily lighted and warmed, and involve less climbing of stairs. Rooms are often made lofty under the impression that better ventilation is thereby secured; but there is a confusion here. A high room is less intolerable without ventilation, the vitiated air being more diluted; but a low room is usually more easily ventilated, because the windows are nearer the ceiling.Mr. Garbett advises that the windows be many and small. This costs more; and if it be understood to involve placing the windows on different sides, the effect, I think, will be generally less agreeable than where the room is lighted wholly from one side. A capital exception, however, is the dining-room, which should always, if possible, abound in cross-lights; else one half the table will be oppressed by a glare of light, and the other visible only insilhouette.As to material, stone is the handsomest, and the only one that constantly grows handsomer, and does not require that your creepers should be periodically disturbed for painting or repairs. But this is perhaps all that can be said in its favor. To make a stone house as good as a wooden one we must build a wooden one inside of it. Wood is our common material, and there is none better, if we take the pains to make it tight. There is a prevalent notion that it is the thinness of our cheap wooden houses that makes them pervious to heat and cold. But no wooden house, unless built of solid and well-fitted logs, could resist the external temperature by virtue of thickness. It is tightness that tells here. Wherever air passes, heat and cold pass with it. What is important, therefore, is, by good contrivance and careful execution, to stop all cracks as far as possible. For this, an outside covering of sheathing-felt, or some equivalent material, may be recommended, and especially a double plastering inside,—not the common "back-plastering," but two separate compact surfaces of lime and sand, inside the frame.The position, the internal arrangement, and the material being determined upon, the next point is that the structure shall be as little of an eyesore as we can make it. Do what we will, every house, as long as it is new, is a standing defiance to the landscape. In color, texture, and form, it disconnects itself and resists assimilation to its surroundings. The "gentle incorporation into the scenery of Nature," that Wordsworth demands, is the most difficult point to effect, as well as the most needful. This makes the importance of a background of trees, of shrubs, and creepers, and the uniting lines of sheds, piazzas, etc., mediating and easing off the shock which the upstart mass inflicts upon the eye. Hence Sir Joshua Reynolds's rule for the color of a house, to imitate the tint of the soil where it is to stand. Hence the advantage of a well-assured base and generally of a pyramidal outline, because this is the figure of braced and balanced equilibrium, assured to all natural objects by the slow operation of natural laws, which we must take care not to violate in our haste, unless for due cause shown.We hear much of the importance of proportions, but the main point generally is that the house be not too high. This is the most universal difficulty, particularly in small houses, the area being diminished, but not the height of stories. In this respect the old farm-houses had a great advantage, and this is a main element in their good effect,—aided as it is by the height of the roof; for a high roof will often make a building seem lower than it would with a low roof or none at all. The dreary effect of the flat-roofed houses in the neighborhood of New York is due partly to the unrelieved height, and partly to the unfinished or truncated appearance of a thing without a top. The New York fashion gives, no doubt, the most for the money; but the effect is so offensive that I think it justifies us for once in violating Mr. Garbett's canon and sacrificing efficiency to taste.The most pleasing shape of roof, other things being equal, is the pyramidal or hipped, inclining from all sides towards the centre. The drawback is, that, if it must be pierced by windows, their lines will stick off from the roof, so that, as seen from below, they will be violently detached from the general mass. The good taste of the old builders made them avoid putting dormer-windows (at least in front) in roofs of one pitch; the windows were in the gables, carried out for this purpose; or if dormers were necessary, they made a mansard or double-pitched roof, in which the windows are less detached. Another excellent feature in the old New-England farm-houses is the long slope of the roof behind, and, in general, the habit of roofing porches, dormers, sheds, and other projections by continuing the main roof over them, with great gain to breadth and solidity of effect.In fact, were it possible, we could not do better for the outside than to take these old houses for our model. But here, as everywhere, we find the outside depends on the inside, and that what we most admire in them will conflict with the new requirements. For instance, the massive central chimney and the expanse on the ground point to the kitchen as the common living-room of the family; they are irreconcilable with our need of more chambers and of the possibility of more separation above and below. The later and more ambitious houses, such as were built in the neighborhood of Boston at the beginning of the century, come nearer to our wants; but they sacrifice too much to a cut-and-dried symmetry to be of much use to us. After that the way is downward through one set of absurdities after another, until of late some signs of more common-sense treatment begin to be visible.The way out of this quagmire is first of all to avoid confusion of aim. What is this that we are building? If it is a monument, let us seek only to make it beautiful. But if it is a house, let us always keep in mind that the appearance of it, being really secondary, must be seen to have been held so throughout. Else we shall not, in the long run, escape bad taste. Bad taste is not mere failure, but failure to do something which ought not to have been attempted. For instance, among the most frequent occasions for deformity in modern houses are the dormers, the windows that rise above the roof. In the Gothic buildings these are among the most attractive features. The reason is that the tendency of the outline to detach itself from the mass of the building furnishes to the Gothic a culminating point for the distinct legitimate aim at beauty of expression that pervades the whole; but to the modern builder, whose aim, as regards expression, should be wholly negative, it is at best an embarrassment, and often a snare.The chief obstacle to a rational view of the present position of architecture comes from the number of clever men who devote their lives to putting a good face on our absurdities, and by all sorts of tricks and sophistries in wood and stone prevent us from seeing our conduct in its proper deformity. They dazzle and bewilder us with beauties plucked at haphazard from all times and ages,—as much forgeries as any that men are hanged for,—and then, when the cheat begins to peep through, they fool us again with pretences of thoroughness, consistency of style, genuineness in the use of materials, etc., as if the danger were in the execution, and not in the main intention. So they fool us for a while longer, and we praise their fine doings, and even persuade ourselves there is something liberal and ennobling in their influence. But we tire at last of these exotics. A million of them is not worth one of those sober flowers of homely growth where use has by chance, as it were, blossomed into beauty. This is the only success in that kind that can be hoped for in our day. But it must come of itself; it cannot be had for the seeking, nor if sought for its own sake. The active competition that goes on in our streets is not the way to it, unless negatively, by way of disgust and exhaustion. For some help, meantime, I commend the opinion of an architect of my acquaintance, who said the highest compliment he ever received was from a drover, who could not account for it that "he had passed that way so often and never seen thatold house." Nobody expects his house will be beautiful, do what he will; why pay for the certainty of failure? Not to be conspicuous, and, to that end, to respect the plain fundamental rules of statics, of good construction, of harmonious color, and to resist sacrificing any solid advantage to show, these are our safest rules at present.MR. AXTELL.PART III.The twilight was almost gone on the Saturday night when I went back to the grave, solemn house. There was no one dead in it now. It was the first time that I had approached it without the abyss of shadow under its roof. A little elasticity came back to me. Kino came out to give his welcome: we had become friendly. Katie let me in."Perhaps you'd choose to wait down-stairs a bit," she said; "Mr. Abraham's getting his tea up in Miss Lettie's room."She lighted the lamp, and left me. After my two explorations in unknown realms,—the one voluntary, looking at the painting on the wall, the other involuntary, looking at a human soul in sorrow,—I resolved to shut my eyes to all that they ought not to see; and therefore I stationed myself in the green glade of a chair, and very properly decided that the only thing I would look at should be the fire. What I might see there surely could offend no one, unless it were the deity of Coal,—and Redleaf was not near any carboniferous group.Peculiar were the forms the fire took an elfish pleasure in assuming. Little blue flames came up into atmospheric life, through the rending fissures where so many years of ages they had been pent into the very blackness of darkness; and as they gained their freedom, they gave tiny, crackling shouts of liberty. "We're free! we're free!" they smally cried; and I wondered if a race, buried as deeply in the strata of races as these bits of burning coal had been in the geologic periods of earth, could utter such cries.The fire grew, the liberty paeans ceased. Deep opaline content burned lambescent amid the coals. Ashy cinders fell from the grate slowly, slumberously, as the one dead, that very afternoon buried, had gone to rest, in the night-time, when the household was asleep, without any one to hold her hand whilst she took the first step in the surging sea of river. Yes, she died alone,—"in the heart of the night," Dr. Eaton said it must have been "that the bridegroom came." Had she oil in her lamp? What was she like? Like her son Abraham, or her daughter Lettie? I tried to paint her face as it must have been. It is darker still in that grave where she lies than was the night wherein she died. Miss Lettie was right: they have a fathom of earth over her,—there's not one glimmer of light down there. When I am buried, won'tsome oneshut in one little sun-ray with me, that I may see to feel the gloom?I looked down upon the gravelly earth lying above her, as I had looked across at it when I left the parsonage at night fall, and passed by the church-yard. All the while, my eyes were in the depths of the fire. I went down through stone and soil to the coffin there. All was unutterable blackness. I put out my hand to feel. It was a cold, marbleized face that my warm, living fingers wandered over. I touched the forehead: it was very stony, granite-like,—not a woman's forehead. The eyes were large,—I felt them under the half-closed lids. The mouth—Yes, Miss Lettie was right. Love for Abraham had covered up this mother-love for her. And confession unto her dead was, it must have been, better than unto her living. The answer would have been much the same.Shudderingly, I picked up my hand, the one that had been lying upon the arm of the chair, whilst its life and spirit had gone out on their mission of discovery. It was very cold. I warmed it before the fire, and began to think that Aaron was right,—this House of Axtell was stealing away my proper self, or, at least, this hand of mine had been unlawfully employed, through occasion of them. As the warmth of burning coals revivified my hand, I saw something in the fire,—a face,—the very one these live fingers had just been tracing in yonder church-yard. Its eyes were open now,—large, luminous, earnest, with a wave of solid pride sweeping on through the irides and almost overwhelming the pupils. The mouth,—oh, those lips!ever uttered they a prayer? They look, trembling the while, so unutterably unforgiving! When they come to stand before the I AM, will theyeverplead? It is hard to think the Deity maketh such souls. Doth He? I looked a little farther on in the fiery group. Other forms of coal took the human face. I saw two. Whose were they? One was like unto my mother. How little I remember of her! and yet this was like my memory,—sweetly gentle, loving past expression's power, no taint of earth therein. Another came up. I did not know it. Something whispered, "It is of you." I almost heard the words with my outward ears. I looked around the room. No one was with me. Stillness reigned in the house."It takes Mr. Axtell a very long time to take his tea," I thought; "he must know more of hunger's power than I.—I will look at the fire no more," I said, slowly, to myself, and closed my eyelids, somewhat willing to drop after all that they had endured that day.A soft, silver, "swimming sound" floated through the room. It was the clock upon the mantel sending out tones of time-hours. I looked up. It was eleven of the clock. "I must have fallen asleep," I thought, and threw off the folds of a shawl which I surely left on the sofa over there when I seated myself in this chair. My head was upon a pillow, downy and white, instead of the green vale of chair in which I had laid it down. I sprang up. There was little of lamp-light in the room. I saw something that looked marvellously like somebody, near the sofa. It was Katie, my good little friend Katie. She was sitting on a footstool with her head upon her hands, and, poor, tired child! fast asleep. I awoke her."Who covered me up, Katie?" I asked."Mr. Abraham," said Katie; and her waking senses came back."And how did the pillow get under my head?""Mr. Abraham said 'he was sorry that you had come.' You looked very white in your sleep, and he said 'you wouldn't wake up'; so I lifted your head just a mite, and he fixed the pillow under it. He told me to stay here until you awoke.""Which I have most decidedly done, Katie," I said; and I fully determined to take no more naps in this house.How could it have happened? I accounted for the fact in the most reasonable way I knew,—I, who rejoice in being reasonable,—by thinking it occurred in consequence of my long watchfulness, and sombreness of thought and soul."I am sorry that you didn't wake me," I said to Katie, as she moved the chairs in the room to their respective places.With the most childlike implicitness in the world, the little maid stood still and looked at me."Icouldn't, you know, Miss Percival, when Mr. Abraham told me not to," were the positive words she used in giving her reason.I forgave Katie, and wondered what the secret of this man's commanding power could be, as on this Saturday night.I left the world, and went up to take my last watch with the convalescing lady. Her brother was with her. He looked a little surprised, when I went in; but the cloud of anger had gone away: folded it up he had, I fancied, all ready to shake out again upon the slightest provocation; and I did not care to see its folds waving around me, so I did not speak to him. Miss Axtell seemed pleased to see me; said "she trusted that this would be the last occasion on which she should require night-care."Her beauty was lovely now, A roseate hue was over her complexion: a little of the old fever rising, I suppose it must have been."I've been talking with Abraham," she said, when I spoke of it.Why should a conversation with her brother occasion return of fever? Perhaps it was not that, but the mention of the fact, which increased the glow wonderfully.Mr. Axtell bade his sister good-night."You will do it to-morrow, Abraham?" she asked, as he was going from the room."I will think about it to-night, and give you my decision in the morning, Lettie."Mr. Axtell must have been very absent-minded, for he turned back, hoped I had not taken cold in the library, and ended the wish with a civil "Good night, Miss Percival.""Good night, Mr. Axtell," I said; and he was gone.There was no need of persuasion to quietude to-night, it seemed, for Miss Axtell gave me no field for the practice of oratory: she was quite ready and willing to sleep."Can you not sleep, too?" she asked, as she closed her eyes; "if I need you, I can speak."No, I could not sleep. The night grew cold: a little edge of winter had come back. I felt chilled,—either because of my sleep down-stairs, or because the mercury was cold before me. My shawl I had not brought up with me. Might I not find one? The closet-door was just ajar: it was a place for shawls. I crossed the room, and, opening it a little more, went in. I saw something very like one hanging there, but it was close beside that grave brown plaid dress, and I had resolved to intrude no farther into the affair of the tower. Results had not pleased me.I grew colder than ever, standing hesitatingly in the closet, whence a draught blew from the dressing-room beyond. I must have the shawl. I reached forth my hand to take it down. The dress, I found, was hung over it. It must needs come off, before the shawl. I lifted it, catching, as I did so, my fingers in a rent,—was it? Yes, a piece was gone. I looked at the size and form of it, which agreed perfectly with the fragment I had found. This dress, then, had been in the tower, beyond all question.I thought myself very fairy-like in my movements, but the fire was not. Some one—it must have been Mr. Axtell or Katie—had put upon the hearth a stick of chestnut-wood, which, suddenly igniting, snapped vigorously. This began ere I was safely outside of the closet. Miss Lettie was awakened. She arose a little wildly, sitting up in the bed. I do not know that it was the fire that aroused her."I've had a terrific dream, Miss Percival; don't let me fall asleep again"; and her heart beat fast and heavily. She pressed her hands upon it, and asked for some quieting medicine, which I gave. She was getting worse again, I knew; her hands wandered up to her head, in the same way that they had done when she was first ill."I want some one to help me," she said, as if talking to herself; "the waters are very rough. I thought they would be all smooth after the great storm.""Perhaps it is only the healthful rising of the tide," I ventured to say.She looked at me, took her hands down from her head, her beautiful, classic head, with its wide, heavenly arch of forehead, and sat still thus, looking at me in that fixed way, that wellnigh sent me to call Katie again, for full ten minutes. I moved about the room, arranged the fire on a more quiet basis, and then, finding nothing else to do, stood before it, hoping that Miss Axtell would lie down again. In taking something from my pocket I must have drawn out the trophy of my tower-victory, for Miss Axtell suddenly said,—"You've dropped something, Miss Percival."Turning, I picked it up hastily, lest she should recognize it.She must have seen it quite well, for it had been lying in the full light of the blazing wood."Have you a dress like that?" she asked, when I had restored the fragment."I have not," I replied. "I am sorry I awakened you.""It was a dream that awakened me," she said. "Will you have the kindness to give me that bit of cloth you picked up? I have a fancy for it."I gave it to her.She hastily put away the gift I had given, and said,—"You like the old tower in the church-yard, Miss Percival, I believe?""Oh, yes: it is a great attraction for me. Redleaf would be Redleaf no longer, if it were away.""Have you visited it since you've been here this time?""Once only.""Were there any changes?" she asked."A few," I said. "There is another entrance to the tower than by the door, Miss Axtell."Slowly the lady dropped back to the pillows whence she had arisen from the disturbing dream. She did not move again for many minutes; then it was a few low-spoken words that summoned me to her side."I know there is another entrance to the tower," she said; "but I did not think that any one else knew of it. Who told you?""Excuse me from answering, if you please," I said, unwilling to excite her more, for I knew that the fever was rising rapidly."Who knows of this besides you? You don't mind telling me that much?""No one knows it, I think; no person told me, and I have told no one. You seem to have more fever; can you not sleep?""Not with all this equinoctial storm raging, and the tide you told me of coming up with the wind."She looked decidedly worse. Mr. Axtell let her have her own way. I thought it wise to follow his leading, and I asked,—"What tide do you mean? You cannot hear the sea, and it isn't time for the equinoctial gale."This question seemed to have quieted Miss Axtell beyond thought of reply. She did not speak again until the Sabbath-day had begun. Then, at the very point where she had ceased, she recommenced."It is a pity to let the sea in on the fertile fields of your young life," she said; "but this tide,—it is not that that is now flowing in on the far-away beach of Redcliff. It is the tide of emotion, thatsome one dayin life begins to rise in the human heart,—and, oh, what a strange, wondrous thing it is! There are Bay-of-Fundy tides, and the uniform tides, and the tideless waters that rest around Pacific Isles; and no mortal knoweth the cause of their rise or fall. So in human hearts: some must endure the great throbbing surges that are so hard coming against one poor heart with nothing but the earth to rest upon, and yetmust stand fast; then there are the many, the blessed congregation of hearts, that are only stirred by moderate, even-flowing emotions, that never rise over a tide-line, behind which the congregation are quite secure, and stand and censure the souls striving and toiling in waves that they only look upon, but never—no, never—feel. Is this right, Miss Percival?""It seems not," I said; "but the tideless hearts, what of them?""Oh, they are the hardest of all. Think! Imagine one of those serene, iridescent rings of land, moored close beside the cliff, at which the waves never rest from beating. Could the one forever at peace, with leave from wind and wave to grow its verdure and twine its tendrils just where it would,—couldit feel for the life-points against which the Gulf-Stream only now and then sent up a cheering bit of warmth, whilst the soul of the cliff saw its own land of greenness, only far, far away over the waters, but could not attain unto it, not whilst north-land winds blow or the earth-time endures?"Miss Axtell ceased, and the same fixed, absorbed expression came to her. She looked as she had done on the night, four days since, when I came in at that door for the first time. I thought of the question her brother had asked me concerning the turning of the key; and crossing the room, I turned it."Why did you lock the door?" she asked."I am constitutionally timid," was my apology."You have never evinced it before; why now?""Because I have not thought of it sooner.""Will you unlock it, please?" she asked; and her eyes were very bright with the fever-fire that I knew was burning up, until I feared the flame would touch her mind. "I don't like being locked in; I wish to be free," she added.This lady has something of Mr. Axtell's command of manner. I could not think it right to refuse to comply, and I unlocked the door.She seemed restless. "Bring me the key, will you?" she asked, after a few moments of silence, in which her wandering eyes sought the door frequently.I gave it to her. I might have locked the door before giving her the key, but I could not do it even in her approach to wildness. I hate deception as devoutly as she disguises. She thanked me for my compliance, and said, with a scintillation of coaxingness in her manner,—"You need not be afraid; there's nothing to harm one in Redleaf.""Why did you come, to be kind to me, sick and in sorrow?" she suddenly asked, whilst I, unseen by her, was preparing one of the soothing powders that still were left from the night wherein I forgot my duty.I knew not how to reply. The very bit of material which she had hidden underneath a pillow was the cause; and so I answered,—"Town-life is so different; one becomes so accustomed to a ring of changes in the all-around of life, that, when in the country, one looks for something to remind one of the life that has been left.""Then you did not come from genuine kindness?""No, I am afraid not.""Do not be afraid to be truthful, ever," she said, and added,—"Once more, will you tell me where you found the fragment you have given me?""I cannot, Miss Axtell."She did not speak again, but lay looking at the ceiling until long after the moon had risen,—the waning moon, that comes up so weirdly, late in the night, like a spectre of light appointed to haunt the solemn old earth, and punish it with the remembrance of a brighter, better light gone, and a renewed consciousness of its own once unformed, chaotic existence. I saw rays from it coming in through the parted curtains, and distinctly traced tree-branches wavering to and fro out in the night-wind, set astir as the moon came up. At last she said,—"I wish you would go to sleep. Won't you wake Katie up, and then lie down? She has had a rest.""Poor, tired child," I said; "she had work to do yesterday; I had not.""Abraham, then, if not Katie.""He has been up three nights, Miss Axtell,—I only one.""I did not know it," she said. "I forgot that I had been so long ill.""Will you try and sleep?" once more I asked; "it is near morning."She wished to know the hour, made me give her watch into her own keeping, and then said "she would not talk, no, she would be very quiet, if I would only gratify her by making myself comfortable on the lounge." It did not seem very unreasonable, and I consented."But you are looking at me," she said. "I hate to be watched; do shut your eyes."I looked away from her. Time went on. I heard the clock strike four times, in the March night. Miss Axtell was very quiet,—better, I was convinced. I arose once to rebuild the fire. Wood-fires burn down so soon. Then I took up my watch, thinking over the strange events, all unconsummated, that had been and still were in being under this roof.Five hours came booming up from the village-clock. The wind must have changed, or I could not have heard the strokes, so roundly full."How short the hour has been!" was my first thought. Kino began a furious, untimely barking. "What for?" I wondered; and I lifted up my head and listened. No sound; the room was very still. Miss Axtell had dropped the curtains of the bed. It annoyed her, I supposed, to feel herself watched. "Her breathing is very soft," I thought; "I do not even hear it. Her sleep must be pleasant, after the fever."I laid my head down to its resting-place, listening still. Kino kept up a low, ominous growl, quite different from his first barking. Nothing more came. "I'm glad he doesn't waken Miss Axtell," I thought; and gradually Kino dropped his growls into low, plaintive moans, which in time died away. As they did so, another sound, not outside, but in the house, set my poor, weak heart into violent throbbings. Footsteps were in the upper hall, I felt sure. Miss Axtell might not hear them, if she had not heard Kino's louder noise. Slowly they came,—not heavy, with a stout, manly tread, but muffled. They came close to the door. If the key were only in it! But I could not move. I heard a hand going over it, just as I had heard that hand three days before in the dark tower. A moment's awful pour of feeling, and then came the gentlest, softest of knocks. Why did I not get up and see who it was? Simply because Nature made me cowardly, and meant me, therefore, to bear cowardice bravely. I never moved. A second time came the knock, but no more nerve of sound in it than at the first. A hand touched the knob after that, and turning it gently, the door was carefully pushed open, and a figure, looking very much like Mr. Axtell, only the long, dark hair fell over his face, came noiselessly in. I could not tell at the moment who it was. I watched him cautiously. He stood still, looking first at the bed, whose curtains were down, then around the room. For one moment I thought him looking at me, and involuntarily my eyelids closed, lest he might know himself watched. He put up his hand, and pushed back the heavy hair from his forehead. It was only Mr. Axtell. The relief was so great that I spoke,—softly, it is true."What is it?" I asked. "Is anything wrong, Mr. Axtell?""It seems not," he said. "Kino's barking aroused me,—it is so unusual. How has she slept?""Very well. For the last hour she has not spoken."Kino began again his low, dismal howling."Did not the dog disturb her when he barked?"Mr. Axtell had walked to the lounge from which I had risen, still speaking in the voice that has much of tone without much sound."No,—she did not seem to hear it.""She must be sleeping very deeply," the brother said; and as he spoke, he cautiously uplifted a fold of the hangings.What was it that came over his face, made visible even in the gloom of the room? Something terrible."What is it?" I asked, springing up; "what has happened?" and I put out my hand to take the look at the sleeper in there that he had done.He stayed my hand, waved it back, folded his arms, as if nothing unusual had occurred, and questioned me."What has she talked about to-night?""She has said very little.""Tell me something that she has said, immediately"; and he looked fearfully agitated."What has happened?" I asked; and again I caught at the hangings which concealed the fearful thing that he had seen."Answer me!" Two words only, but tremendously uttered."She asked me if I liked the tower in the church-yard," I said."You told her what?""That I did like it.""Has she seemed worried about anything?" and Mr. Axtell threw up a window-sash, letting the cold March wind into this room of sickness. As he did so, I lifted the folds that the wind rudely swayed.Miss Axtell was not there.He turned around. I stood speechless."How long have you been asleep?" he asked, coolly, as if nothing had occurred."Not at all," I answered. Then I thought, "I must have slept, else she could not have gone out without my knowing it."—"I heard the stroke of four and of five," I said.He looked up and down the street, only a little lighted by the feeble, old, fading moon."Have you any idea where she would go?" he asked."She may be in the house," I said; "why not look?""No; I found the front-door unfastened. I thought Katie might have forgotten it, when I went to see. She has gone out, I know."He looked for the wrappings she might have put on, searching, as he did so, for the small lamp that always was placed beside the larger one upon the table. It was gone. It had been there at four o'clock, when I put wood on the fire."Where would she carry a lamp?" Mr. Axtell asked, as he went on, searching, in known places, for articles of apparel that were not in their wonted homes. Having found them, he went out hurriedly, went to his own room, came out thence a moment after, with boots on his feet in place of the slippers he had frightened me with, and an overcoat across his arm. He did not seem to see me, as I stood waiting in the hall."Where are you going?" I asked of him, but he did not answer. He went straight on by me, and down, out of the house, closing the great hall-door after him with a force that shook the walls.I went into the deserted room, put down the window-sash that he had left open, laid more wood upon the dying embers, caught up Miss Axtell's shawl, and, throwing it over my head, started down the stairs. It was pitch-dark, not even moonlight, there. I went back for a lamp: the only one was the heavy bronze, in the lone room. Mr. Axtell's door was open. He had left a light. I went in and took it up, with a box of matches lying near, and once more started down the stairs. How full of trembling I was! yet not afraid: there was a life, perhaps, to save. I opened the heavy oaken door. The wind put out my light. I did not need it longer. The shred of moon, hanging prophetic of doom, let out its ghastly whiteness to ghost the village.Kino did not bark. The wind came down the street from churchward, whence I had heard the stroke of the village-clock. Ten minutes past five: it would be morning soon. I listened. The wind brought me footsteps, going farther and farther on: or was it the fluttering of my own garments that I heard? "I will know," I thought; and I ran a little way, then listened again. They seemed less far than before, but still going on. I ran again, farther than at first. I saw a figure before me, but, oh,sofar! It seemed that I should never catch it. I tried, and called. I might as well have shouted to my father, miles away; for the wind carried my voice nearer to him than to Mr. Axtell, hurrying on. Where would he go? I tried to keep him in sight. He turned a corner, and the wind tormented me; it was almost a gale that blew, and I had the shawl to hold over my head. I came to the corner that he had turned: it was near the parsonage,—only two or three houses away. There was less of wind. I went on, half-breathless with the intensity of the effort I made to breathe. The stars looked cold. I was near the church-yard. First the church,—then the place of graves,—after that, the long, sloping garden, and the parsonage higher up. I passed by the last house. I drew near to the church. How fearful! I stopped. It was only a momentary weakness: a life was concerned; it was no place for idle fears. I crept on, shivering with the cold, and the night, and the loneliness, and the awful thought that the Deity was punishing me for having gone, in imagination, down to the cradle of His dead, by sending me out this night among graves. I heard the church-windows rattling coarse, woody tunes; but I tried not to hear, and went past. A low paling ran along the interval between the church and the parsonage-garden. I had crossed the street when I came up to the church; now I moved along opposite this fearful spot. The paling was white. I listened. No sound. A shadow from a tall pine-tree fell across a part of the paling. Therein I thought I saw what might be Mr. Axtell, leaning on the fence. I went a little of the distance across the street. Whatever it was, it stirred. I ran back, and started on, thinking to gain the parsonage. The figure—it was Mr. Axtell—came after me. As soon as I knew, for he called, "Lettie," I stopped and turned toward him."It isn't your sister," I said."You, Miss Percival? Why are you out?" and he seemed anxious. He said, "You are suffering too much from the 'strange people.'"How could he mention my hasty words at such a time? and I remembered the unforgiving face that I had touched a fathom deep under the hard ground."I'm glad I've found you," I said. "Have you the church-key?"He told me that he had. I said,—"Come and open it.""What for?" and he still peered over among the tombstones, as if expecting to find Miss Lettie there."It is not there that she would go, I think; come quickly with me," I said.We walked to the church-entrance, hastily. He searched for the key. He hadn't it. I put my hand out, and touched it in the door."See here! I'm right!" and as I spoke, I drew a match across the stone step. The wind put out the flame. I guarded the second one with my shawl, and lighted the lamp."Open quickly, before I lose it," I said.He did, and we went in,—in through the vestibule, where I first had seen this man, tolling the bell for his mother's death,—up the aisle, where I had gone the day I saw the thirsty, hungry, little mouse. I felt afraid, even with this strong man, for I did not know where I was going. We drew near the pulpit,—the pulpit in which Aaron preached."She is not here," Mr. Axtell said; and he looked about the empty pews, feebly lighted from my small flame.He started forward as he spoke."Don't leave me," I said; and I put my hand within his arm.What we saw was a change in the pulpit, an opening, as if some one had destroyed the panelled front of it."Come," I said; and I drew near, and put the lamp through the opening, showing a few stone steps; perhaps there were a dozen of them; at least, they went down into undefined darkness."What is this, Miss Percival?""I don't know,—I have never seen it before; but I think it leads to the tower. You will find her there. Come!" and I went down the first step, with a feeling far stronger than the prisoner's doomed to step off into interminable depths, in that Old-World castle famous for wrongs to mankind,—for I knew my danger: he does not, as he comes to the last step, from off which he goes down to a deep, watery death.Mr. Axtell was aroused. He took the lamp from my unsteady hand, and, bidding me come back, went down before me. At the foot we found ourselves in a stone passage-way. It seemed below the reach of rains, and not very damp. Once I hit my foot against a stone, and fell. As Mr. Axtell turned back to see if I was hurt, he let the light fall distinctly on the ground. I saw a letter. He went on. I groped for it, one moment, then found it, and put it, with the torn piece of envelope to which it might belong, within my pocket. We came, at last,—a long distance it seemed for only a hundred feet,—to steps again. There were only three of them. Mr. Axtell held the lamp up; there was an opening. I shaded the light immediately, and whispered,—"She's up there, I'm sure. Don't alarm her.""How can I help it?" he asked.I had as little of wisdom on the point as he; but I heard a noise. I saw a glimmer of light, as I looked up; then it was gone. I put my head through the opening, then reached down for the lamp. I held it up, and called,—"Miss Axtell!"No answer."We shall have to go up," her brother said.I entered the tower, the place I had so loved before,—and now seemed destined to atone for my love by suffering."Don't let the light go out, Mr. Axtell," were all the words spoken; and we went up the long, winding stairway.At the top stood Miss Axtell, fixed and statue-like, with fever-excited eyes. She looked not at us, but far away, through the rough wood inside, through the stone of the tower: her gaze seemed limitless."Come, Lettie! come, sister! come home with me," her brother said.She heeded not; the only seeming effect was a convulsion of the muscles used in holding the lamp. I ventured to take it from her.

"I will not longer

Earth-bound linger:

Loosen your hold on

Hand and on ringlet.

Girdle and garment;

Leave them: they're mine!"

"Bethink thee, bethink thee

To whom thou belongest!

Say, wouldst thou wound us,

Rudely destroying

Threefold the beauty,—

Mine, his, and thine?"

FAUST,—SECOND PART.

Nay, fold your arms, beloved Friends,

Above the hearts that vainly beat!

Or catch the rainbow where it bends,

And find your darling at its feet;

Or fix the fountain's varying shape,

The sunset-cloud's elusive dye,

The speech of winds that round the cape

Make music to the sea and sky:

So may you summon from the air

The loveliness that vanished hence,

And Twilight give his beauteous hair,

And Morning give his countenance,

And Life about his being clasp

Her rosy girdle once again:—

But no! let go your stubborn grasp

On some wild hope, and take your pain!

For, through the crystal of your tears,

His love and beauty fairer shine;

The shadows of advancing years

Draw back, and leave him all divine.

And Death, that took him, cannot claim

The smallest vesture of his birth,—

The little life, a dancing flame

That hovered o'er the hills of earth,—

The finer soul, that unto ours

A subtle perfume seemed to be,

Like incense blown from April flowers

Beside the scarred and stormy tree,—

The wondering eyes, that ever saw

Some fleeting mystery in the air,

And felt the stars of evening draw

His heart to silence, childhood's prayer!

Our suns were all too fierce for him;

Our rude winds pierced him through and through;

But Heaven has valleys cool and dim,

And boscage sweet with starry dew.

There knowledge breathes in balmy air,

Not wrung, as here, with panting breast:

The wisdom born of toil you share;

But he, the wisdom born of rest.

For every picture here that slept,

A living canvas is unrolled;

The silent harp he might have swept

Leans to his touch its strings of gold.

Believe, dear Friends, they murmur still

Some sweet accord to those you play,

That happier winds of Eden thrill

With echoes of the earthly lay;

That he, for every triumph won,

Whereto your poet-souls aspire,

Sees opening, in that perfect sun,

Another blossom's bud of fire!

Each song, of Love and Sorrow born,

Another flower to crown your boy,—

Each shadow here his ray of morn,

Till Grief shall clasp the hand of Joy!

Because our architecture is bad, and because the architecture of our forefathers in the Middle Ages was good, Mr. Ruskin and others seem to think there is no salvation for us until we build in the same spirit as they did. But that we should do so no more follows than that we should envy those geological ages when the club-mosses were of the size of forest-trees, and the frogs as big as oxen. There are many advantages to be had in the forests of the Amazon and the interior of Borneo,—inexhaustible fertility, endless water-power,—but no one thinks of going there to live.

No age is without its attractions. There would be much to envy in the Greek or the Roman life, if we could have them clear of drawbacks. Many persons would be glad always to find Emerson in State Street, or sauntering in the Mall, ready to talk with all comers,—or to hear the latest words of Bancroft or Lowell from their own lips at the cattle-show or the militia-muster. The Roman villas had some excellent features,—the peristyle of statues, the cryptoporticus with its midnight coolness and shade of a July noon, the mosaic floor, and the glimmering frescoes of the ceiling. But we are content to get our poets and historians in their books, and to take the pine-grove for our noonday walk, or to wait till night has transformed the street into a cryptoporticus nobler than Titus's. It is as history that these things charm us; but the charm vanishes, when, even in fancy, we bring them into contact with our actual lives. So it is with the medieval architecture. It is true, in studying these wonderful fossils, a regret for our present poverty, and a desire to appropriate something from the ancient riches, will at times come over us. But this feeling, if it be more than slight and transient, if it seriously influence our conduct, is somewhat factitious or somewhat morbid. Let us be a little disinterested in our admiration, and not, like children, cry for all we see. We have our share: let us leave the dead theirs.

The fallacy lies in the supposition, that, besides all their advantages, they had all ours too. It is with our mental as with our bodily vision,—we see only what is remote; and the image to the mind depends, not only upon seeing, but uponnot seeing. In the distant star, all foulness and gloom are lost, and only the pure splendor reaches us. Inspired by Mr. Ruskin's eloquence, the neophyte sets forth with contrition to put his precepts into practice. But the counterstatement which he had overlooked does not, therefore, cease to exist. At the outset, he finds unexpected sacrifices are demanded. And, as money is the common measure of the forces disposable, the hindrances take the form of increase of cost. Before the first step can be taken towards doing anything as Mr. Ruskin would have it done, he discovers that at least it will cost enormously more to do it in that way. The lamps of truth and sacrifice demand such expensive nourishment, that he is forced to ask himself whether they are of themselves really sufficient to live by.

It is not that we are poorer or more penurious than our ancestors, but that we have more wants than they, and that the new wants overshadow the old. What is spent in one direction must be spared in another. The matter-of-course necessaries of our life were luxuries or were unknown to them. First of all, the luxury of freedom,—political, social, and domestic,—with the habits it creates, is the source of great and ever-increasing expense. We are still much behindhand in this matter, and shall by-and-by spend more largely upon it. But, compared with our ancestors, individual culture, to which freedom is the means, absorbs a large share of our expenditure. The noble architecture of the thirteenth century was the work of corporations, of a society that knew only corporations, and where individual culture was a crime. Dante had made the discovery that it is the man that creates his own position, not the accident of birth. But his life shows how this belief isolated him. Nor was the coincidence between the artistic spirit of the age and its limitations accidental. Just in proportion as the spirit of individualism penetrated society, and began to show itself as the Renaissance, architecture declined. The Egyptian pyramids are marvels to us, because we are accustomed to look upon the laborer as a man. But once allow that he is only so much brute force,—cheap, readily available, and to be had in endless supply, but as a moral entity less to be respected than a cat or a heron, and the marvel ceases. Should not the building be great to which man himself is sacrificed? Later, the builders are no longer slaves; but man is still subordinate to his own work, adores the work of his hands. This stands for him, undertakes to represent him, though, from its partial nature, it can only typify certain aspects or functions of him. A Gothic cathedral is an attempt at a universal expression of humanity, a stone image of society, in which each particle, insignificant by itself, has its meaning in the connection. It was the fresh interest in the attempt that gave birth to that wonderful architecture. This is the interest it still has, but now only historical, since the discovery was made that the particle is greater than the mass,—that it is for the sake of the individual that society and its institutions exist. Ever since, a process of disintegration has been going on, resulting in a progressive reversal of the previous relation. Not the private virtues of the structure, but its uses, are now uppermost, and ever more and more developed. Even in our own short annals something of this process may be traced. Old gentlemen complain of the cost of our houses. The houses of their boyhood, they say, were handsomer and better built, yet cost less. There is some truth in this, for the race of architect-builders hardly reaches into this century. But if the comparison be pushed into details, we soon come to the conviction that the owners of these houses were persons whose habits were, in many respects, uncouth and barbarous. It is easy to provide in the lump; but with decency, privacy, independence,—in short, with a high degree of respect on the part of the members of the household for each other's individuality,—expense begins. Letarouilly says it is difficult to discover in the Roman palaces of the Renaissance any reference to special uses of the different apartments. It was to the outside, the vestibule, courtyard, and staircase, that care and study were given: the inside was intended only as a measure of the riches and importance of the owner, not as his habitation. The part really inhabited by him was themezzanino,—a low, intermediate story, where he and his family were kennelled out of the way. Has any admiring traveller ever asked himself how he could establish himself, with wife and children, in the Foscari or the Vendramin palace? To live in them, it would be necessary to build a house inside.

Nor is there any ground for saying that the fault is in the builders,—that the old builders met the demands of their time, and would equally satisfy the demands of our time, without sacrifice of their art. The first demand in the days of good architecture was, that the building should have an independent artistic value beyond its use. This is what architecture requires; for architecture is building,pure,—building for its own sake, not as means. What Mr. Garbett says is, no doubt, quite true,—that nothing was ever made, for taste's sake, less efficient than it might have been. But many things were mademoreefficient than they might have been; or, rather, this is always the character of good architecture. It is in this surplus of perfection, above bare necessity, that its claim to rank among the fine arts consists. This character the builders of the good times, accordingly, never left out of sight; so that, if their means were limited, they lavished all upon one point,—made that overflow with riches, and left the rest plain and bare; never did they spread their pittance thin to cover the whole, as we do. It is for this reason that so few of the great cathedrals were finished, and that in buildings of all kinds we so often find the decoration in patches, sharply marked off from the rest of the structure. This noble profuseness is not, indeed, necessarily decoration; the essence of it is an independent value and interest in the building, aside from the temporary and accidental employment. The spires and the flying-buttresses of the Northern cathedrals cannot be defended on the ground of thrifty construction. The Italian churches accomplished that as well without either. How remote the reference to use in the mighty portals of Rheims, or the soaring vaultings of Amiens and Beauvais! Does anybody suppose that Michel Angelo, when he undertook to raise the dome of the Pantheon into the air, was thinking of the most economical way of roofing a given space? These fine works have their whole value as expression; it is with their visible contempt of thrift that our admiration begins. They pared away the stone to the minimum that safety demanded, and beyond it,—yet not from thrift, but to make the design more preëminent and necessary, and to owe as little as possible to the inert strength of the material.

But though we admire the result, we have grown out of sympathy with the cause, the state of mind that produced it, and so the root wherefrom the like should be produced is cut off. There is no reason to suppose that the old builders were men of a different kind from ours, more earnest, more poetical. The stories about the science of the medieval masons are rubbish. All men are in earnest about something; our men are as good as they, and would have built as well, had they been born at the right time for it. But now they are thinking of other things. The Dilettanti Society sent Mr. Penrose to Athens to study in the ancient remains there the optical corrections which it was alleged the Greeks made in the horizontal lines of their buildings. Mr. Penrose made careful measurements, establishing the fact, and a folio volume of plates was published to illustrate the discovery, and evince the unequalled nicety of the Greek eye. But the main point, namely, that a horizontal line above the level of the eye, in order to appear horizontal, must bend slightly upwards, was pointed out to me years ago by a common plasterer.

It is not that our builders are degenerate, but that their art is a trade, occupies only their hands, not their minds, and this by no fault in them or in anybody, but by the natural progress of the world. In each age by turn some one mental organ is in a state of hypertrophy; immediately that becomes the medium of expression,—not that it is the only possible or even the best, but that its time has come,—then it gives place to another. Architecture is dead and gone to dust long ago. We are not called upon to sing threnodies over it, still less to attempt to galvanize a semblance of life into it. If we must blame somebody, let it not be the builder, but his employers, who, caring less even than he for the reality of good architecture, (for the material itself teaches him something,) force him into these puerilities in order to gratify their dissolute fancies.

If these views seem to any one low and prosaic, let me remind him that poetry does not differ from prose in being false. We must respect the facts. If there were in this country any considerable number of persons to whom the buildings they daily enter had any positive permanent value besides convenience,—who looked upon the church, the bank, or the house, as upon a poem or a statue,—the birth of a national architecture would be assured. But as the fact stands, while utility, and that of a temporary and makeshift sort, is really the first consideration, we are not yet ready to acknowledge this to others or to ourselves, and so fail to get from it what negative advantage we might, but blunder on under some fancied necessity, spending what we can ill spare, to the defrauding of legitimate demands, as a sort of sin-offering for our aesthetic deficiency, or as a blind to conceal it. The falsehood, like all falsehood, defeats itself; the pains we take only serve to make the failure more complete.

This is displayed most fully in the doings of "Building Committees." Here we see what each member (perhaps it would be more just to say the least judicious among them) would do in his own case, were he free from the rude admonitions of necessity. He has at least to live in his own house, and so cannot escape some attention to the substantial requirements of it; though some houses, too, seem emancipated from such considerations, and to have been built for any end rather than to live in. But in catering for the public, it is theoutsidersalone that seem to be consulted, the careless passer-by, who for once will pause a moment to commend or to sneer at the façade,—not the persons whose lives for years, perhaps, are to be affected by the internal arrangement. It is doubtless from a suspicion, more or less obscure, of the incoherency of their purpose, that such committees usually fall into the hands of a "practical man,"—that is, a man impassive to principles, of hardihood or bluntness of perception enough to carry into effect their vague fancies, and spare them from coming face to face with their inconsistencies. Thus fairly adrift and kept adrift from the main purpose, there is no vagary impossible to them,—churches in which there is no hearing, hospitals contrived to develop disease, museums of tinder, libraries impossible to light or warm. And what gain comes to beauty from these sacrifices, let our streets answer. Good architecture requires before all things a definite aim, long persisted in. It never was an invention, anywhere, but always a gradual growth. What chance of that here?

The only chance clearly is to cut away till we come to the solid ground of real, not fancied, requirement. As long as it is our whims, and not our necessities, that build, it matters little how much pains we take, how learned and assiduous we are. I have no hope of any considerable advantage from the abundant exhortation to frankness and genuineness in the use of materials, unless it lead first of all to a more frank and genuine consideration of the occasion for using the materials at all. If it lead only to open timber roofs and stone walls in place of the Renaissance stucco, I think the gain very questionable. The stucco is more comfortable, and at least we had got used to it. These are matters of detail: suppose your detailsaremore genuine, if the whole design is a sham, if the aim be only to excite the admiration of bystanders, the thing is not altered, whether the bystanders are learned in such matters or ignorant. The more excellent the work is in its kind, the more insidious and virulent the falsity, if the whole occasion of it be a pretence. If it must be false, let it by all means be gross and glaring,—we shall be the sooner rid of it.

It may be asked whether, then, I surrender the whole matter of appearance,—whether the building may as well be ugly as beautiful. By no means; what I have said is in the interest of beauty, as far as it is possible to us. Positive beauty it may be often necessary to forego, but bad taste is never necessary. Ugliness is not mere absence of beauty, but absence of it where it ought to be present. It comes always from a disappointed expectation,—as where the lineaments that do not disgust in the potato meet us in the human face, or even in the hippopotamus, whom accordingly Nature kindly puts out of sight. It is bad taste that we suffer from,—not plainness, not indifference to appearance, but features misplaced, shallow mimicry of "effects" where their causes do not exist, transparent pretences of all kinds, forcing attention to the absence of the reality, otherwise perhaps unnoticed. The first step toward seemly building is to rectify the relation between the appearance and the uses of the building,—to give to each the weight that it really has with us, not what we fancy or are told it ought to have. Mr. Ruskin too often seems to imply that fine architecture is like virtue or the kingdom of Heaven: that, if it be sought first, all other things will be added. A sounder basis for design, beyond what is necessary to use, seems to me that proposed by Mr. Garbett, (to whom we are indebted for the most useful hints upon architecture,) namely, politeness, a decent regard for the eyes of other people (and for one's own, for politeness regards one's self as well). Politeness, however, as Mr. Garbett admits, is chiefly a negative art, and consists in abstaining and not meddling. The main character of the building being settled by the most unhesitating consideration of its uses, we are to see that it disfigures the world as little as possible.

Let me, at the risk of tediousness, proceed to bring these generalities to a point by a few instances,—not intending to exhaust the topic, but only to exemplify the method of approaching it.

The commonest case for counsel, and more common here than anywhere else, is where a man is to build for himself a house, especially in the country,—for town-houses are more governed by extraneous considerations. The first point is theaspect,—that the living-rooms be well open to the sun. Let no fancied advantages of view or of symmetrical position interfere with this. For they operate seldom and strike most at first, but the aspect tells on body and mind every day. It is astonishing how reckless people are of this vital point, suffering it to be determined for them by the direction of a road, or even of a division-fence,—as if they had never looked at their houses with their own eyes, but only with the casual view of a stranger. It does not follow, however, that the entrance must be on the sunny side, though this is generally best, as the loss of space in the rooms is more than made up by the cheeriness of the approach. For the same reason, unless you are sailing very close to the wind, let your entrance-hall be roomy. It is in no sense an unproductive outlay, for it avails above in chambers, and below in the refuge it affords to the children from the severer rules of the parlor.

As to number and distribution of rooms, the field is somewhat wide. Here the differences of income, of pursuits, and the idiosyncrasies of taste come in; and more than all, not only are the circumstances originally different, but constantly varying. I speak not of the fluctuations of fortune, but of normal and expected changes. The young couple, or the old, are easily lodged. But in middle life,—since we are not content, like our forefathers, with bestowing our children out of sight,—it takes a great deal of room to provide for them on both floors, without either neglect or oppression, and to keep up the due oversight without sacrificing ourselves or them. For children are rather exclusive, and spoil for other use more room than they occupy. Here I counsel every man who must have a corner to himself to fix his study in the attic, for the only way to avoid noise without wasteful complication is to be above it.

The smallest house must provide some escape from the dining-room. If dining-room and sitting-room are on the sunny side, and the entrance be also on that side, they will be separated, as indeed they always may be, without loss. The notion that the rooms must immediately connect is one of those whims to which houses are sacrificed. The only advantage is the facility for receiving company. But if the occasions when the guests will be too many for one room are likely to be frequent, rather than permanently spoil the living-room, it is better to set apart rooms for reception. Our position in this matter is in truth rather embarrassing. Formerly (and the view is not yet wholly obsolete) the whole house was a reception-hall, the domestic life of the inmates being a secondary matter, swept into some corner, such as the cells of the mediaeval castles or themezzaninoof the Italian palaces. But the austere aspect of the shut-up "best parlor" of our grandfathers, with its closed blinds and chilly chintz covers, showed that the tables were beginning to turn, and the household to assert its rights and civilly to pay off the guest for his usurpations. Henceforth he is welcome, but he is secondary; it was not for him that the house was built; and if it comes to choosing, he can be dispensed with. It would be very agreeable to unite with all the new advantages all the old,—the easy hospitality, the disengaged suavity of the ancient manners. Now the brow of the host is clouded, he has too much on his mind to play his part perfectly. It is not that good-will is wanting, but that life is more complicated. The burdens are more evenly distributed, and no class is free and at leisure. But to fret over our disadvantages, and to extol the past, is only to ignore the price that was paid for those advantages we covet. There was always somebody to sweat for that leisure. Would a society divided into castes be better? Or again, who would like to have his children sleep three in a bed, and live in the kitchen, in order that the best rooms should always be swept and garnished for company?

In every case, unless a man is rich enough to have two houses in one, it comes to choice between domestic comfort and these occasional facilities. Direct connection of rooms usually involves the sacrifice of the chimney-corner, on one or both sides; for it is not pleasant to sit in a passage-way, even if it be rarely used. For use in cold weather the available portion of a room may be reckoned as limited by the door nearest the fireplace.

It will be noticed that this supposes the use of open fireplaces. The open fireplace is not a necessary of life, but it is one of the first luxuries, and one that no man who can afford to eat meat every day can afford to dispense with. No furnace can supply the place of it; for, though the furnace is an indispensable auxiliary in severe cold, and though, well managed, it need not vitiate the air, yet, like all contrivances for supplying heated air instead of heat, it has the insurmountable defect of not warming the body directly, nor until all the surrounding air be warmed first, and thus stops the natural reaction and the brace and stimulus derived from it. Used exclusively, it amounts to voluntarily incurring the disadvantage of a tropical climate.

Let the walls of the second story be upright. The recent fashion of a mansard or "French roof" is only making part of the wall of the house look like roof, at equal expense, at the sacrifice of space inside, and above all, of tightness. For, though shingles and even slates will generally keep out the rain, the innumerable cracks between the sides of them can never be made air-tight, and therefore admit heat and cold much more freely than any proper wall-covering. A covering of metal would be too good a conductor of external temperature,—while clapboarding would endanger the resemblance to a roof, which is the only gain proposed.

As to the size of the house, it is important to observe that its cost does not depend so much upon the size of the rooms (within reasonable limits) as upon the number of them, the complication of plan, and the number of doors and windows. For every door or window you can omit you may add three or four feet to your house. The height of the stories will be governed by the area of the largest rooms;—what will please each person depends very much upon what he is used to. In the old New-England houses the stories were very low, often less than eight feet in the best rooms. In favor of low rooms it is to be remembered that they are more easily lighted and warmed, and involve less climbing of stairs. Rooms are often made lofty under the impression that better ventilation is thereby secured; but there is a confusion here. A high room is less intolerable without ventilation, the vitiated air being more diluted; but a low room is usually more easily ventilated, because the windows are nearer the ceiling.

Mr. Garbett advises that the windows be many and small. This costs more; and if it be understood to involve placing the windows on different sides, the effect, I think, will be generally less agreeable than where the room is lighted wholly from one side. A capital exception, however, is the dining-room, which should always, if possible, abound in cross-lights; else one half the table will be oppressed by a glare of light, and the other visible only insilhouette.

As to material, stone is the handsomest, and the only one that constantly grows handsomer, and does not require that your creepers should be periodically disturbed for painting or repairs. But this is perhaps all that can be said in its favor. To make a stone house as good as a wooden one we must build a wooden one inside of it. Wood is our common material, and there is none better, if we take the pains to make it tight. There is a prevalent notion that it is the thinness of our cheap wooden houses that makes them pervious to heat and cold. But no wooden house, unless built of solid and well-fitted logs, could resist the external temperature by virtue of thickness. It is tightness that tells here. Wherever air passes, heat and cold pass with it. What is important, therefore, is, by good contrivance and careful execution, to stop all cracks as far as possible. For this, an outside covering of sheathing-felt, or some equivalent material, may be recommended, and especially a double plastering inside,—not the common "back-plastering," but two separate compact surfaces of lime and sand, inside the frame.

The position, the internal arrangement, and the material being determined upon, the next point is that the structure shall be as little of an eyesore as we can make it. Do what we will, every house, as long as it is new, is a standing defiance to the landscape. In color, texture, and form, it disconnects itself and resists assimilation to its surroundings. The "gentle incorporation into the scenery of Nature," that Wordsworth demands, is the most difficult point to effect, as well as the most needful. This makes the importance of a background of trees, of shrubs, and creepers, and the uniting lines of sheds, piazzas, etc., mediating and easing off the shock which the upstart mass inflicts upon the eye. Hence Sir Joshua Reynolds's rule for the color of a house, to imitate the tint of the soil where it is to stand. Hence the advantage of a well-assured base and generally of a pyramidal outline, because this is the figure of braced and balanced equilibrium, assured to all natural objects by the slow operation of natural laws, which we must take care not to violate in our haste, unless for due cause shown.

We hear much of the importance of proportions, but the main point generally is that the house be not too high. This is the most universal difficulty, particularly in small houses, the area being diminished, but not the height of stories. In this respect the old farm-houses had a great advantage, and this is a main element in their good effect,—aided as it is by the height of the roof; for a high roof will often make a building seem lower than it would with a low roof or none at all. The dreary effect of the flat-roofed houses in the neighborhood of New York is due partly to the unrelieved height, and partly to the unfinished or truncated appearance of a thing without a top. The New York fashion gives, no doubt, the most for the money; but the effect is so offensive that I think it justifies us for once in violating Mr. Garbett's canon and sacrificing efficiency to taste.

The most pleasing shape of roof, other things being equal, is the pyramidal or hipped, inclining from all sides towards the centre. The drawback is, that, if it must be pierced by windows, their lines will stick off from the roof, so that, as seen from below, they will be violently detached from the general mass. The good taste of the old builders made them avoid putting dormer-windows (at least in front) in roofs of one pitch; the windows were in the gables, carried out for this purpose; or if dormers were necessary, they made a mansard or double-pitched roof, in which the windows are less detached. Another excellent feature in the old New-England farm-houses is the long slope of the roof behind, and, in general, the habit of roofing porches, dormers, sheds, and other projections by continuing the main roof over them, with great gain to breadth and solidity of effect.

In fact, were it possible, we could not do better for the outside than to take these old houses for our model. But here, as everywhere, we find the outside depends on the inside, and that what we most admire in them will conflict with the new requirements. For instance, the massive central chimney and the expanse on the ground point to the kitchen as the common living-room of the family; they are irreconcilable with our need of more chambers and of the possibility of more separation above and below. The later and more ambitious houses, such as were built in the neighborhood of Boston at the beginning of the century, come nearer to our wants; but they sacrifice too much to a cut-and-dried symmetry to be of much use to us. After that the way is downward through one set of absurdities after another, until of late some signs of more common-sense treatment begin to be visible.

The way out of this quagmire is first of all to avoid confusion of aim. What is this that we are building? If it is a monument, let us seek only to make it beautiful. But if it is a house, let us always keep in mind that the appearance of it, being really secondary, must be seen to have been held so throughout. Else we shall not, in the long run, escape bad taste. Bad taste is not mere failure, but failure to do something which ought not to have been attempted. For instance, among the most frequent occasions for deformity in modern houses are the dormers, the windows that rise above the roof. In the Gothic buildings these are among the most attractive features. The reason is that the tendency of the outline to detach itself from the mass of the building furnishes to the Gothic a culminating point for the distinct legitimate aim at beauty of expression that pervades the whole; but to the modern builder, whose aim, as regards expression, should be wholly negative, it is at best an embarrassment, and often a snare.

The chief obstacle to a rational view of the present position of architecture comes from the number of clever men who devote their lives to putting a good face on our absurdities, and by all sorts of tricks and sophistries in wood and stone prevent us from seeing our conduct in its proper deformity. They dazzle and bewilder us with beauties plucked at haphazard from all times and ages,—as much forgeries as any that men are hanged for,—and then, when the cheat begins to peep through, they fool us again with pretences of thoroughness, consistency of style, genuineness in the use of materials, etc., as if the danger were in the execution, and not in the main intention. So they fool us for a while longer, and we praise their fine doings, and even persuade ourselves there is something liberal and ennobling in their influence. But we tire at last of these exotics. A million of them is not worth one of those sober flowers of homely growth where use has by chance, as it were, blossomed into beauty. This is the only success in that kind that can be hoped for in our day. But it must come of itself; it cannot be had for the seeking, nor if sought for its own sake. The active competition that goes on in our streets is not the way to it, unless negatively, by way of disgust and exhaustion. For some help, meantime, I commend the opinion of an architect of my acquaintance, who said the highest compliment he ever received was from a drover, who could not account for it that "he had passed that way so often and never seen thatold house." Nobody expects his house will be beautiful, do what he will; why pay for the certainty of failure? Not to be conspicuous, and, to that end, to respect the plain fundamental rules of statics, of good construction, of harmonious color, and to resist sacrificing any solid advantage to show, these are our safest rules at present.

The twilight was almost gone on the Saturday night when I went back to the grave, solemn house. There was no one dead in it now. It was the first time that I had approached it without the abyss of shadow under its roof. A little elasticity came back to me. Kino came out to give his welcome: we had become friendly. Katie let me in.

"Perhaps you'd choose to wait down-stairs a bit," she said; "Mr. Abraham's getting his tea up in Miss Lettie's room."

She lighted the lamp, and left me. After my two explorations in unknown realms,—the one voluntary, looking at the painting on the wall, the other involuntary, looking at a human soul in sorrow,—I resolved to shut my eyes to all that they ought not to see; and therefore I stationed myself in the green glade of a chair, and very properly decided that the only thing I would look at should be the fire. What I might see there surely could offend no one, unless it were the deity of Coal,—and Redleaf was not near any carboniferous group.

Peculiar were the forms the fire took an elfish pleasure in assuming. Little blue flames came up into atmospheric life, through the rending fissures where so many years of ages they had been pent into the very blackness of darkness; and as they gained their freedom, they gave tiny, crackling shouts of liberty. "We're free! we're free!" they smally cried; and I wondered if a race, buried as deeply in the strata of races as these bits of burning coal had been in the geologic periods of earth, could utter such cries.

The fire grew, the liberty paeans ceased. Deep opaline content burned lambescent amid the coals. Ashy cinders fell from the grate slowly, slumberously, as the one dead, that very afternoon buried, had gone to rest, in the night-time, when the household was asleep, without any one to hold her hand whilst she took the first step in the surging sea of river. Yes, she died alone,—"in the heart of the night," Dr. Eaton said it must have been "that the bridegroom came." Had she oil in her lamp? What was she like? Like her son Abraham, or her daughter Lettie? I tried to paint her face as it must have been. It is darker still in that grave where she lies than was the night wherein she died. Miss Lettie was right: they have a fathom of earth over her,—there's not one glimmer of light down there. When I am buried, won'tsome oneshut in one little sun-ray with me, that I may see to feel the gloom?

I looked down upon the gravelly earth lying above her, as I had looked across at it when I left the parsonage at night fall, and passed by the church-yard. All the while, my eyes were in the depths of the fire. I went down through stone and soil to the coffin there. All was unutterable blackness. I put out my hand to feel. It was a cold, marbleized face that my warm, living fingers wandered over. I touched the forehead: it was very stony, granite-like,—not a woman's forehead. The eyes were large,—I felt them under the half-closed lids. The mouth—Yes, Miss Lettie was right. Love for Abraham had covered up this mother-love for her. And confession unto her dead was, it must have been, better than unto her living. The answer would have been much the same.

Shudderingly, I picked up my hand, the one that had been lying upon the arm of the chair, whilst its life and spirit had gone out on their mission of discovery. It was very cold. I warmed it before the fire, and began to think that Aaron was right,—this House of Axtell was stealing away my proper self, or, at least, this hand of mine had been unlawfully employed, through occasion of them. As the warmth of burning coals revivified my hand, I saw something in the fire,—a face,—the very one these live fingers had just been tracing in yonder church-yard. Its eyes were open now,—large, luminous, earnest, with a wave of solid pride sweeping on through the irides and almost overwhelming the pupils. The mouth,—oh, those lips!ever uttered they a prayer? They look, trembling the while, so unutterably unforgiving! When they come to stand before the I AM, will theyeverplead? It is hard to think the Deity maketh such souls. Doth He? I looked a little farther on in the fiery group. Other forms of coal took the human face. I saw two. Whose were they? One was like unto my mother. How little I remember of her! and yet this was like my memory,—sweetly gentle, loving past expression's power, no taint of earth therein. Another came up. I did not know it. Something whispered, "It is of you." I almost heard the words with my outward ears. I looked around the room. No one was with me. Stillness reigned in the house.

"It takes Mr. Axtell a very long time to take his tea," I thought; "he must know more of hunger's power than I.—I will look at the fire no more," I said, slowly, to myself, and closed my eyelids, somewhat willing to drop after all that they had endured that day.

A soft, silver, "swimming sound" floated through the room. It was the clock upon the mantel sending out tones of time-hours. I looked up. It was eleven of the clock. "I must have fallen asleep," I thought, and threw off the folds of a shawl which I surely left on the sofa over there when I seated myself in this chair. My head was upon a pillow, downy and white, instead of the green vale of chair in which I had laid it down. I sprang up. There was little of lamp-light in the room. I saw something that looked marvellously like somebody, near the sofa. It was Katie, my good little friend Katie. She was sitting on a footstool with her head upon her hands, and, poor, tired child! fast asleep. I awoke her.

"Who covered me up, Katie?" I asked.

"Mr. Abraham," said Katie; and her waking senses came back.

"And how did the pillow get under my head?"

"Mr. Abraham said 'he was sorry that you had come.' You looked very white in your sleep, and he said 'you wouldn't wake up'; so I lifted your head just a mite, and he fixed the pillow under it. He told me to stay here until you awoke."

"Which I have most decidedly done, Katie," I said; and I fully determined to take no more naps in this house.

How could it have happened? I accounted for the fact in the most reasonable way I knew,—I, who rejoice in being reasonable,—by thinking it occurred in consequence of my long watchfulness, and sombreness of thought and soul.

"I am sorry that you didn't wake me," I said to Katie, as she moved the chairs in the room to their respective places.

With the most childlike implicitness in the world, the little maid stood still and looked at me.

"Icouldn't, you know, Miss Percival, when Mr. Abraham told me not to," were the positive words she used in giving her reason.

I forgave Katie, and wondered what the secret of this man's commanding power could be, as on this Saturday night.

I left the world, and went up to take my last watch with the convalescing lady. Her brother was with her. He looked a little surprised, when I went in; but the cloud of anger had gone away: folded it up he had, I fancied, all ready to shake out again upon the slightest provocation; and I did not care to see its folds waving around me, so I did not speak to him. Miss Axtell seemed pleased to see me; said "she trusted that this would be the last occasion on which she should require night-care."

Her beauty was lovely now, A roseate hue was over her complexion: a little of the old fever rising, I suppose it must have been.

"I've been talking with Abraham," she said, when I spoke of it.

Why should a conversation with her brother occasion return of fever? Perhaps it was not that, but the mention of the fact, which increased the glow wonderfully.

Mr. Axtell bade his sister good-night.

"You will do it to-morrow, Abraham?" she asked, as he was going from the room.

"I will think about it to-night, and give you my decision in the morning, Lettie."

Mr. Axtell must have been very absent-minded, for he turned back, hoped I had not taken cold in the library, and ended the wish with a civil "Good night, Miss Percival."

"Good night, Mr. Axtell," I said; and he was gone.

There was no need of persuasion to quietude to-night, it seemed, for Miss Axtell gave me no field for the practice of oratory: she was quite ready and willing to sleep.

"Can you not sleep, too?" she asked, as she closed her eyes; "if I need you, I can speak."

No, I could not sleep. The night grew cold: a little edge of winter had come back. I felt chilled,—either because of my sleep down-stairs, or because the mercury was cold before me. My shawl I had not brought up with me. Might I not find one? The closet-door was just ajar: it was a place for shawls. I crossed the room, and, opening it a little more, went in. I saw something very like one hanging there, but it was close beside that grave brown plaid dress, and I had resolved to intrude no farther into the affair of the tower. Results had not pleased me.

I grew colder than ever, standing hesitatingly in the closet, whence a draught blew from the dressing-room beyond. I must have the shawl. I reached forth my hand to take it down. The dress, I found, was hung over it. It must needs come off, before the shawl. I lifted it, catching, as I did so, my fingers in a rent,—was it? Yes, a piece was gone. I looked at the size and form of it, which agreed perfectly with the fragment I had found. This dress, then, had been in the tower, beyond all question.

I thought myself very fairy-like in my movements, but the fire was not. Some one—it must have been Mr. Axtell or Katie—had put upon the hearth a stick of chestnut-wood, which, suddenly igniting, snapped vigorously. This began ere I was safely outside of the closet. Miss Lettie was awakened. She arose a little wildly, sitting up in the bed. I do not know that it was the fire that aroused her.

"I've had a terrific dream, Miss Percival; don't let me fall asleep again"; and her heart beat fast and heavily. She pressed her hands upon it, and asked for some quieting medicine, which I gave. She was getting worse again, I knew; her hands wandered up to her head, in the same way that they had done when she was first ill.

"I want some one to help me," she said, as if talking to herself; "the waters are very rough. I thought they would be all smooth after the great storm."

"Perhaps it is only the healthful rising of the tide," I ventured to say.

She looked at me, took her hands down from her head, her beautiful, classic head, with its wide, heavenly arch of forehead, and sat still thus, looking at me in that fixed way, that wellnigh sent me to call Katie again, for full ten minutes. I moved about the room, arranged the fire on a more quiet basis, and then, finding nothing else to do, stood before it, hoping that Miss Axtell would lie down again. In taking something from my pocket I must have drawn out the trophy of my tower-victory, for Miss Axtell suddenly said,—

"You've dropped something, Miss Percival."

Turning, I picked it up hastily, lest she should recognize it.

She must have seen it quite well, for it had been lying in the full light of the blazing wood.

"Have you a dress like that?" she asked, when I had restored the fragment.

"I have not," I replied. "I am sorry I awakened you."

"It was a dream that awakened me," she said. "Will you have the kindness to give me that bit of cloth you picked up? I have a fancy for it."

I gave it to her.

She hastily put away the gift I had given, and said,—

"You like the old tower in the church-yard, Miss Percival, I believe?"

"Oh, yes: it is a great attraction for me. Redleaf would be Redleaf no longer, if it were away."

"Have you visited it since you've been here this time?"

"Once only."

"Were there any changes?" she asked.

"A few," I said. "There is another entrance to the tower than by the door, Miss Axtell."

Slowly the lady dropped back to the pillows whence she had arisen from the disturbing dream. She did not move again for many minutes; then it was a few low-spoken words that summoned me to her side.

"I know there is another entrance to the tower," she said; "but I did not think that any one else knew of it. Who told you?"

"Excuse me from answering, if you please," I said, unwilling to excite her more, for I knew that the fever was rising rapidly.

"Who knows of this besides you? You don't mind telling me that much?"

"No one knows it, I think; no person told me, and I have told no one. You seem to have more fever; can you not sleep?"

"Not with all this equinoctial storm raging, and the tide you told me of coming up with the wind."

She looked decidedly worse. Mr. Axtell let her have her own way. I thought it wise to follow his leading, and I asked,—

"What tide do you mean? You cannot hear the sea, and it isn't time for the equinoctial gale."

This question seemed to have quieted Miss Axtell beyond thought of reply. She did not speak again until the Sabbath-day had begun. Then, at the very point where she had ceased, she recommenced.

"It is a pity to let the sea in on the fertile fields of your young life," she said; "but this tide,—it is not that that is now flowing in on the far-away beach of Redcliff. It is the tide of emotion, thatsome one dayin life begins to rise in the human heart,—and, oh, what a strange, wondrous thing it is! There are Bay-of-Fundy tides, and the uniform tides, and the tideless waters that rest around Pacific Isles; and no mortal knoweth the cause of their rise or fall. So in human hearts: some must endure the great throbbing surges that are so hard coming against one poor heart with nothing but the earth to rest upon, and yetmust stand fast; then there are the many, the blessed congregation of hearts, that are only stirred by moderate, even-flowing emotions, that never rise over a tide-line, behind which the congregation are quite secure, and stand and censure the souls striving and toiling in waves that they only look upon, but never—no, never—feel. Is this right, Miss Percival?"

"It seems not," I said; "but the tideless hearts, what of them?"

"Oh, they are the hardest of all. Think! Imagine one of those serene, iridescent rings of land, moored close beside the cliff, at which the waves never rest from beating. Could the one forever at peace, with leave from wind and wave to grow its verdure and twine its tendrils just where it would,—couldit feel for the life-points against which the Gulf-Stream only now and then sent up a cheering bit of warmth, whilst the soul of the cliff saw its own land of greenness, only far, far away over the waters, but could not attain unto it, not whilst north-land winds blow or the earth-time endures?"

Miss Axtell ceased, and the same fixed, absorbed expression came to her. She looked as she had done on the night, four days since, when I came in at that door for the first time. I thought of the question her brother had asked me concerning the turning of the key; and crossing the room, I turned it.

"Why did you lock the door?" she asked.

"I am constitutionally timid," was my apology.

"You have never evinced it before; why now?"

"Because I have not thought of it sooner."

"Will you unlock it, please?" she asked; and her eyes were very bright with the fever-fire that I knew was burning up, until I feared the flame would touch her mind. "I don't like being locked in; I wish to be free," she added.

This lady has something of Mr. Axtell's command of manner. I could not think it right to refuse to comply, and I unlocked the door.

She seemed restless. "Bring me the key, will you?" she asked, after a few moments of silence, in which her wandering eyes sought the door frequently.

I gave it to her. I might have locked the door before giving her the key, but I could not do it even in her approach to wildness. I hate deception as devoutly as she disguises. She thanked me for my compliance, and said, with a scintillation of coaxingness in her manner,—

"You need not be afraid; there's nothing to harm one in Redleaf."

"Why did you come, to be kind to me, sick and in sorrow?" she suddenly asked, whilst I, unseen by her, was preparing one of the soothing powders that still were left from the night wherein I forgot my duty.

I knew not how to reply. The very bit of material which she had hidden underneath a pillow was the cause; and so I answered,—

"Town-life is so different; one becomes so accustomed to a ring of changes in the all-around of life, that, when in the country, one looks for something to remind one of the life that has been left."

"Then you did not come from genuine kindness?"

"No, I am afraid not."

"Do not be afraid to be truthful, ever," she said, and added,—"Once more, will you tell me where you found the fragment you have given me?"

"I cannot, Miss Axtell."

She did not speak again, but lay looking at the ceiling until long after the moon had risen,—the waning moon, that comes up so weirdly, late in the night, like a spectre of light appointed to haunt the solemn old earth, and punish it with the remembrance of a brighter, better light gone, and a renewed consciousness of its own once unformed, chaotic existence. I saw rays from it coming in through the parted curtains, and distinctly traced tree-branches wavering to and fro out in the night-wind, set astir as the moon came up. At last she said,—

"I wish you would go to sleep. Won't you wake Katie up, and then lie down? She has had a rest."

"Poor, tired child," I said; "she had work to do yesterday; I had not."

"Abraham, then, if not Katie."

"He has been up three nights, Miss Axtell,—I only one."

"I did not know it," she said. "I forgot that I had been so long ill."

"Will you try and sleep?" once more I asked; "it is near morning."

She wished to know the hour, made me give her watch into her own keeping, and then said "she would not talk, no, she would be very quiet, if I would only gratify her by making myself comfortable on the lounge." It did not seem very unreasonable, and I consented.

"But you are looking at me," she said. "I hate to be watched; do shut your eyes."

I looked away from her. Time went on. I heard the clock strike four times, in the March night. Miss Axtell was very quiet,—better, I was convinced. I arose once to rebuild the fire. Wood-fires burn down so soon. Then I took up my watch, thinking over the strange events, all unconsummated, that had been and still were in being under this roof.

Five hours came booming up from the village-clock. The wind must have changed, or I could not have heard the strokes, so roundly full.

"How short the hour has been!" was my first thought. Kino began a furious, untimely barking. "What for?" I wondered; and I lifted up my head and listened. No sound; the room was very still. Miss Axtell had dropped the curtains of the bed. It annoyed her, I supposed, to feel herself watched. "Her breathing is very soft," I thought; "I do not even hear it. Her sleep must be pleasant, after the fever."

I laid my head down to its resting-place, listening still. Kino kept up a low, ominous growl, quite different from his first barking. Nothing more came. "I'm glad he doesn't waken Miss Axtell," I thought; and gradually Kino dropped his growls into low, plaintive moans, which in time died away. As they did so, another sound, not outside, but in the house, set my poor, weak heart into violent throbbings. Footsteps were in the upper hall, I felt sure. Miss Axtell might not hear them, if she had not heard Kino's louder noise. Slowly they came,—not heavy, with a stout, manly tread, but muffled. They came close to the door. If the key were only in it! But I could not move. I heard a hand going over it, just as I had heard that hand three days before in the dark tower. A moment's awful pour of feeling, and then came the gentlest, softest of knocks. Why did I not get up and see who it was? Simply because Nature made me cowardly, and meant me, therefore, to bear cowardice bravely. I never moved. A second time came the knock, but no more nerve of sound in it than at the first. A hand touched the knob after that, and turning it gently, the door was carefully pushed open, and a figure, looking very much like Mr. Axtell, only the long, dark hair fell over his face, came noiselessly in. I could not tell at the moment who it was. I watched him cautiously. He stood still, looking first at the bed, whose curtains were down, then around the room. For one moment I thought him looking at me, and involuntarily my eyelids closed, lest he might know himself watched. He put up his hand, and pushed back the heavy hair from his forehead. It was only Mr. Axtell. The relief was so great that I spoke,—softly, it is true.

"What is it?" I asked. "Is anything wrong, Mr. Axtell?"

"It seems not," he said. "Kino's barking aroused me,—it is so unusual. How has she slept?"

"Very well. For the last hour she has not spoken."

Kino began again his low, dismal howling.

"Did not the dog disturb her when he barked?"

Mr. Axtell had walked to the lounge from which I had risen, still speaking in the voice that has much of tone without much sound.

"No,—she did not seem to hear it."

"She must be sleeping very deeply," the brother said; and as he spoke, he cautiously uplifted a fold of the hangings.

What was it that came over his face, made visible even in the gloom of the room? Something terrible.

"What is it?" I asked, springing up; "what has happened?" and I put out my hand to take the look at the sleeper in there that he had done.

He stayed my hand, waved it back, folded his arms, as if nothing unusual had occurred, and questioned me.

"What has she talked about to-night?"

"She has said very little."

"Tell me something that she has said, immediately"; and he looked fearfully agitated.

"What has happened?" I asked; and again I caught at the hangings which concealed the fearful thing that he had seen.

"Answer me!" Two words only, but tremendously uttered.

"She asked me if I liked the tower in the church-yard," I said.

"You told her what?"

"That I did like it."

"Has she seemed worried about anything?" and Mr. Axtell threw up a window-sash, letting the cold March wind into this room of sickness. As he did so, I lifted the folds that the wind rudely swayed.Miss Axtell was not there.

He turned around. I stood speechless.

"How long have you been asleep?" he asked, coolly, as if nothing had occurred.

"Not at all," I answered. Then I thought, "I must have slept, else she could not have gone out without my knowing it."—"I heard the stroke of four and of five," I said.

He looked up and down the street, only a little lighted by the feeble, old, fading moon.

"Have you any idea where she would go?" he asked.

"She may be in the house," I said; "why not look?"

"No; I found the front-door unfastened. I thought Katie might have forgotten it, when I went to see. She has gone out, I know."

He looked for the wrappings she might have put on, searching, as he did so, for the small lamp that always was placed beside the larger one upon the table. It was gone. It had been there at four o'clock, when I put wood on the fire.

"Where would she carry a lamp?" Mr. Axtell asked, as he went on, searching, in known places, for articles of apparel that were not in their wonted homes. Having found them, he went out hurriedly, went to his own room, came out thence a moment after, with boots on his feet in place of the slippers he had frightened me with, and an overcoat across his arm. He did not seem to see me, as I stood waiting in the hall.

"Where are you going?" I asked of him, but he did not answer. He went straight on by me, and down, out of the house, closing the great hall-door after him with a force that shook the walls.

I went into the deserted room, put down the window-sash that he had left open, laid more wood upon the dying embers, caught up Miss Axtell's shawl, and, throwing it over my head, started down the stairs. It was pitch-dark, not even moonlight, there. I went back for a lamp: the only one was the heavy bronze, in the lone room. Mr. Axtell's door was open. He had left a light. I went in and took it up, with a box of matches lying near, and once more started down the stairs. How full of trembling I was! yet not afraid: there was a life, perhaps, to save. I opened the heavy oaken door. The wind put out my light. I did not need it longer. The shred of moon, hanging prophetic of doom, let out its ghastly whiteness to ghost the village.

Kino did not bark. The wind came down the street from churchward, whence I had heard the stroke of the village-clock. Ten minutes past five: it would be morning soon. I listened. The wind brought me footsteps, going farther and farther on: or was it the fluttering of my own garments that I heard? "I will know," I thought; and I ran a little way, then listened again. They seemed less far than before, but still going on. I ran again, farther than at first. I saw a figure before me, but, oh,sofar! It seemed that I should never catch it. I tried, and called. I might as well have shouted to my father, miles away; for the wind carried my voice nearer to him than to Mr. Axtell, hurrying on. Where would he go? I tried to keep him in sight. He turned a corner, and the wind tormented me; it was almost a gale that blew, and I had the shawl to hold over my head. I came to the corner that he had turned: it was near the parsonage,—only two or three houses away. There was less of wind. I went on, half-breathless with the intensity of the effort I made to breathe. The stars looked cold. I was near the church-yard. First the church,—then the place of graves,—after that, the long, sloping garden, and the parsonage higher up. I passed by the last house. I drew near to the church. How fearful! I stopped. It was only a momentary weakness: a life was concerned; it was no place for idle fears. I crept on, shivering with the cold, and the night, and the loneliness, and the awful thought that the Deity was punishing me for having gone, in imagination, down to the cradle of His dead, by sending me out this night among graves. I heard the church-windows rattling coarse, woody tunes; but I tried not to hear, and went past. A low paling ran along the interval between the church and the parsonage-garden. I had crossed the street when I came up to the church; now I moved along opposite this fearful spot. The paling was white. I listened. No sound. A shadow from a tall pine-tree fell across a part of the paling. Therein I thought I saw what might be Mr. Axtell, leaning on the fence. I went a little of the distance across the street. Whatever it was, it stirred. I ran back, and started on, thinking to gain the parsonage. The figure—it was Mr. Axtell—came after me. As soon as I knew, for he called, "Lettie," I stopped and turned toward him.

"It isn't your sister," I said.

"You, Miss Percival? Why are you out?" and he seemed anxious. He said, "You are suffering too much from the 'strange people.'"

How could he mention my hasty words at such a time? and I remembered the unforgiving face that I had touched a fathom deep under the hard ground.

"I'm glad I've found you," I said. "Have you the church-key?"

He told me that he had. I said,—

"Come and open it."

"What for?" and he still peered over among the tombstones, as if expecting to find Miss Lettie there.

"It is not there that she would go, I think; come quickly with me," I said.

We walked to the church-entrance, hastily. He searched for the key. He hadn't it. I put my hand out, and touched it in the door.

"See here! I'm right!" and as I spoke, I drew a match across the stone step. The wind put out the flame. I guarded the second one with my shawl, and lighted the lamp.

"Open quickly, before I lose it," I said.

He did, and we went in,—in through the vestibule, where I first had seen this man, tolling the bell for his mother's death,—up the aisle, where I had gone the day I saw the thirsty, hungry, little mouse. I felt afraid, even with this strong man, for I did not know where I was going. We drew near the pulpit,—the pulpit in which Aaron preached.

"She is not here," Mr. Axtell said; and he looked about the empty pews, feebly lighted from my small flame.

He started forward as he spoke.

"Don't leave me," I said; and I put my hand within his arm.

What we saw was a change in the pulpit, an opening, as if some one had destroyed the panelled front of it.

"Come," I said; and I drew near, and put the lamp through the opening, showing a few stone steps; perhaps there were a dozen of them; at least, they went down into undefined darkness.

"What is this, Miss Percival?"

"I don't know,—I have never seen it before; but I think it leads to the tower. You will find her there. Come!" and I went down the first step, with a feeling far stronger than the prisoner's doomed to step off into interminable depths, in that Old-World castle famous for wrongs to mankind,—for I knew my danger: he does not, as he comes to the last step, from off which he goes down to a deep, watery death.

Mr. Axtell was aroused. He took the lamp from my unsteady hand, and, bidding me come back, went down before me. At the foot we found ourselves in a stone passage-way. It seemed below the reach of rains, and not very damp. Once I hit my foot against a stone, and fell. As Mr. Axtell turned back to see if I was hurt, he let the light fall distinctly on the ground. I saw a letter. He went on. I groped for it, one moment, then found it, and put it, with the torn piece of envelope to which it might belong, within my pocket. We came, at last,—a long distance it seemed for only a hundred feet,—to steps again. There were only three of them. Mr. Axtell held the lamp up; there was an opening. I shaded the light immediately, and whispered,—

"She's up there, I'm sure. Don't alarm her."

"How can I help it?" he asked.

I had as little of wisdom on the point as he; but I heard a noise. I saw a glimmer of light, as I looked up; then it was gone. I put my head through the opening, then reached down for the lamp. I held it up, and called,—

"Miss Axtell!"

No answer.

"We shall have to go up," her brother said.

I entered the tower, the place I had so loved before,—and now seemed destined to atone for my love by suffering.

"Don't let the light go out, Mr. Axtell," were all the words spoken; and we went up the long, winding stairway.

At the top stood Miss Axtell, fixed and statue-like, with fever-excited eyes. She looked not at us, but far away, through the rough wood inside, through the stone of the tower: her gaze seemed limitless.

"Come, Lettie! come, sister! come home with me," her brother said.

She heeded not; the only seeming effect was a convulsion of the muscles used in holding the lamp. I ventured to take it from her.

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