Having one’s portrait taken is no longer an isolated event in one’s life. It has become a kind of domestic and social duty, to which even though personally opposed, one must gracefully submit, unless he would incur the odium of neglecting the wishes of his family circle and the complimentary requests of his acquaintances.
It would seem at first sight that nothing is easier than to go to a photographer’s and get a good likeness. Nothing is really more uncertain and disappointing. In turning over the albums of our friends, how often we pass the faces of acquaintances and don’t know them at all! How is this? Simply because, at the moment when the picture was taken, the original was unlike herself. She was nervous, her head was 255 screwed in a vise, her position had been selected for her, and she had been ordered to look at an indicated spot, and keep still. Such a position was like nothing in her real life, and the expression on the face was just as foreign. The features might be perfectly correct, but that inscrutable something which individualizes the face was lacking.
Now if the amenities of social life require us to have our pictures done, “it were as well they were well done,” and much toward this end lies within the sitter’s choice and power.
First as to the selection of the artist. It is a great mistake to imagine that photography is a mere mechanical trade. There is as much difference between two photographers as between two engravers. Nor will a fine lens alone produce a good picture. The pose of the sitter, the disposition of lights and shadows, the arrangement of drapery, are of the greatest consequence. A good artist has almost unlimited power in this direction. He can render certain parts thinner by plunging them into half-tone or by burying their outline in the shade, and he 256 can deepen and augment other portions by surrounding them with light. Thus, if the head is too small for beauty, he can increase its size by throwing the light on the face; and if it is too large, he can diminish it by choosing a tint that would throw one half of the face into shadow.
If the artist has a lens which perpetually changes its focus, the result is a portrait in which the outlines are delicately soft and undefined. A view lens, or one that is perfectly flat, occupies nearly two minutes to complete the likeness, and the consequence is, the sitter moves slightly, and the required softness is obtained in an accidental manner. It is evident, therefore, that the most rapidly taken pictures are not necessarily the best. Then people have a hundred different aspects, and to seize the best and reproduce it is the function of genius, and not of chemicals.
Having selected a good artist, and one, also, whose position has enabled him to secure the best tools, the next duty of the sitter regards herself and her costume. In photography a good portrait may be quite nullified by the choice of bad colors in dress. 257 Finery is the curse of the artist, but if he works in oils he can leave it out or tone it down. In photography, as the sitter comes, so she must be taken, with all her excellences or her imperfections on her head.
The colors most luminous to the eye, as red, yellow, orange, are almost without action; green acts feebly; blue and violet are reproduced very promptly. If, then, a person of very fair complexion were taken in green, orange, or red, the lights would be very prominent, and the portrait lack energy and detail. The best of all dresses is black silk,—silk, not bombazine, or merino, or any cottony mixture, as the admirable effect depends on the gloss of the silk, which makes it full of subdued and reflected lights that give motion and play to the drapery. A dead-black dress without this shimmer would be represented by a uniform blotch; a white dress looks like a flat film of wax or a piece of card-board; but a combination of black net or lace over white is very effective, though rarely ventured upon. An admirable softness and depth of color are given to photographs by sealskin and velvet.
Complexion must be considered with dress. Blondes can wear much lighter colors than brunettes. Brunettes always make the best pictures when taken in dark dresses, but neither blondes nor brunettes look well in positive white. Are any pictures so universally ugly as bridal ones? All violent contrasts of color spoil a picture, and should be particularly guarded against; and jewelry imparts a look of vulgarity.
Blondes suffer most in photographic pictures; their golden hair loses all its brilliancy, and their blue eyes, so lovely to the poet, are perplexity to the photographer. Before facing the lens, blondes should powder their yellow hair nearly white; it is then brought to about the same photographic tint as in nature.
Freckles, which are hardly any blemish in the natural face, become, on account of their yellow tint, very unpleasantly distinct in a photographic picture, and often give to the face a decidedly spotted look. They are easily disguised for the occasion. There ought to be in the dressing-room of every studio a mixture of a little oxide of zinc and 259 glycerine; this is to be thinned with rose-water till of the consistence of cream, and applied to the face with a piece of sponge previous to the photographing process. It leaves the skin a delicate white color, and masks all freckles and discolorations. Let a lady with freckles try her picture first without this mixture, and again after the sponge and the cosmetic, and the value of the receipt will be at once appreciated. Its use has long been advocated by the British Journal of Photography.
In connection with this fact we may offer a few words of advice to ladies whose skins are apt to tan and freckle when exposed to the summer sun. Blue is, of all colors, most readily affected by light; and yellow is, of all colors, the least readily susceptible to it. If, then, a fine complexion is desired, the blue veil must be rigorously discarded, however becoming. Green could take its place, but a little yellow net would be better to save a delicate complexion than all the washes and Kalydors ever invented. Freckles and tan are nothing more than the darkening of the salts of iron in the blood by the action 260 of light; and as blue is, of all colors, most easily affected by it, as we have said, any one can see how destructive to a fine skin a blue veil must be in sunny weather.
If the photograph is to be colored, the shade of the costume is not nearly of so much importance; but it may always be borne in mind that close-fitting light garments increase the size of the head, hands, and feet, and that a flowing ample dress renders these parts light and delicate. The advantage of coloring photographs is very great, if the artist be an able and judicious one, for that hardness of outline, which is more artificial than natural, may be in a great measure remedied by a clever brush; only, always object to solid colors; the most transparent water-colors alone should be used. However, it is a disputed question whether artificial coloring, however well done, improves photographs, since it certainly, in some measure, robs them of that accuracy and that air of purity which are the distinctive claims of the art. The next improvement in this method of limning faces will undoubtedly be the compelling of the sun—the 261 source of all color—to paint the pictures he draws; and a number of recent facts point to this improvement as very probable within a short time.
Never permit yourself to be the lay figure of a photographer’s ideal landscapes. The cutting up of a portrait with balustrades, pillars, and gay parterres is fatal to the effect of the figure, which should be the only object to strike the eye. No photographic portrait looks so well as one with a perfectly plain background, but if some accessory is desired, then see that it does not turn the central figure into ridicule. If you have always lived in some modest home, do not be made to stand in marble halls or amid splendid imaginary domains. Young ladies reading in full evening costume, with water and swans behind them, or standing in trailing silks and laces in a mountain pass, are ridiculous enough. We saw a few days ago the face of a lovely girl looking out of a Champagne basket. The picture was artistically taken, but the extravagant conceit of the surroundings, utterly at variance with the original’s character, completely spoiled the 262 picture. We have in mind also a famous belle sitting in an elaborate toilet in a room full of books and materials for writing and study, though all her little world knows that she never reads aught but the lightest of novels, and never writes anything but an invitation or a love-letter. Actresses taken in character may require an elaborate artificial background in order to assist the illusion, but private ladies, as a rule, look infinitely better without it.
In ladies’ portraits the setting-off of beauty is the thing to be borne in mind. This, in a photograph, is, in a great measure, a question of lights and shadows, and of their distribution. For every face there is a light and a shadow to be specially selected as the one that will show it to the best advantage. The most becoming light is one level with, or even somewhat beneath, the face, it being a great mistake to suppose the foot-lights on the stage unbecoming. A top light, such as we get in ordinary photographic rooms, augments the projection of the forehead, and throws a deep shadow over the eyes. The bridge of the nose, the lower lip, and chin 263 separate themselves, as it were, in clear lights, from the rest of the face, and such an effect is very unbecoming and inappropriate for a young girl.
If the features are prominent, a clear bright light increases very decidedly that prominence, and also imparts a peculiar hardness to the expression that has probably no existence in the model. Therefore insist that, as far as possible, the light from above shall be got rid of, and a light from the side brought into use.
There is as much character in the human figure as in the face; consequently full-length portraits are best, because they add to the facial resemblance the attitude and peculiarities of the figure. If the portrait is half-size, then the attitude ought to indicate the position of the lower extremities. In bust portraits the head is everything, the bust merely sustains and indicates its size and proportion. The head, however, should never be represented without the bust, for the effect of such a portrait is a total want of unity; it offers no point of comparison by which the rest of the body can be judged,—a 264 matter of great importance, as this is one of the most striking characteristics of the individual.
A carte de visite is a more agreeable likeness than a larger one, because it is taken with the middle of the lens, where it is truest; hence it is never out of drawing. Also, it hides rather than exaggerates any roughness of the face; and, again, it is so moderate in price that we can afford to distribute the pictures generously.
Photographs have a bad name for durability, and when we look over our albums and see those that were once strong and expressive now pale and faded, we are forced to admit that their beauty is evanescent. But this disadvantage is very much the fault of the artist. There is nothing in the chemical constitution of photographs—formed as they are by the combination of the precious metals—to make them evanescent. The trouble lies in the last process through which they pass. This process leaves them impregnated with a destructive chemical, and the removal of all traces of it is a difficult and tedious thing. To be finished effectually, 265 the pictures ought to be bathed for a day in a good body of water constantly agitated and changed. Artists who are jealous of their art and of their personal reputation insist on this process being thoroughly attended to, but with inferior photographers the temptation to neglect it is very great, especially as in many cases the vicious chemical adds to the present brilliancy of the picture. They are further tempted by the impatience of sitters, who are often importunate for an immediate finish of their pictures. But if a durable portrait is wanted, ladies must allow the artist time for the proper cleansing of their photograph.
To the large majority of people the first interview with their photographic portrait is a heavy disappointment. They express themselves by an eloquent silence, turn it this way and that, hold it near and far off. After a little while they become used to it in its velvet frame, though they never in their heart acknowledge its truthfulness. Again, there are others to whom photography is very favorable, and they show to more advantage in their pictures than ever they did 266 in reality. These last are people whose features are well balanced and proportioned, but who are not generally considered beautiful. Faces dependent for beauty on their mobility and expression suffer most, and are indeed, in their finer moods, almost untranslatable by this process.
Still, setting aside all artistic considerations, photographic portraits have a great social value, not only because they fairly indicate the personnel of their models, but because they so faithfully represent textures that we can form a very good idea from a carte de visite of the social position of the sitter, and incidentally, from the cut, style, and material of the dress, a very good notion also of their moral calibre.
Many things are permissible in photographic portraits—which may be retaken every few months—that would justly be deprecated in a finished oil portrait destined to go down with houses and lands to unborn generations. In such a picture any intrusion of the imagination is an impertinence if made at the slightest expense of truth.
The great value of an oil portrait is this: 267 the divine, almost intangible light of expression hovering over the face is seized on by living skill and intellect, and imprisoned in colors. The sitter is not taken in one special moment, when his eyes are fixed and his muscles rigid, but in a free study of many hours the characteristics of the face are learned, and some felicitous expression caught and fixed forever. This is what gives portrait painting its special value, and drives ordinary photographic portraits out of the realms of art into those of mechanism.
Artists have various ways of treating their sitters. Some throw them into a Sir-Joshua-like attitude, and put in a Gainsborough background. Others compass the face all over, and map it out like a chart, taking elevations of every mole and dimple. But whenever an artist feels unsafe away from his compasses, and cannot trust himself, sitters should not trust him.
There is a real pleasure in sitting to a master in his art, a real weariness and disgust in sitting to a tyro. It must be remembered that not only is the best expression to be caught, but that the features 268 of any face vary so much under physical changes and mental moods that their differences may actually be measured with a foot-rule. An ordinary artist will measure these distances; an extraordinary artist will catch their subtle effects, and will draw the features as well as the expression at their very best.
A really fine oil portrait should look as well near by as it does at a distance.
Suffer no artist to leave out blemishes which contribute to the character of the original; ugly or pretty, unless a portrait is a likeness, it is worthless. There are very clever artists who cannot paint a true portrait, because they leave every picture redolent of themselves. Thus Bartolozzi in engraving Holbein’s heads, made everything Bartolozzi. But in a portrait the individuality of the sitter should permeate and usurp the whole canvas, so that in looking at it we should think only of the person represented, and quite forget the artist who brought him before us.
It is an axiom that every full-length portrait requires a curtain and a column, every half-length a table, every kit-kat a full face. 269 But surely such rules betray barrenness of invention. Every good position cannot be said to have been exhausted. Why should not every portrait be treated as a part of an historical picture in which the sitter’s position and background and accessories produced the tone and feeling most suitable to his ordinary life? Raphael in his portrait of Leo the Tenth exhibits a faithful study of such subordinates. There is a prayer-book with miniatures, a bell on the table, and a mirror at the back of the chair reflecting the whole scene. One of Rembrandt’s most charming portraits is that of his mother cutting her nails with a pair of scissors.
Never suffer any artist to slur over or hide the hand. The hand is a feature full of beauty and individuality. Any one who has noticed how Vandyck studied and worked out its peculiarities, what beauty and expression he gave to it, will never undervalue its power as an exponent of personality again.
The portraits of men or women occupying prominent positions should always have 270 their name and that of the artist on the back. If this had been done in times past, how many nameless portraits, now of little value, would be held in high estimation! From the time of Henry the Eighth to the time of Charles the First it was usual to insert in a corner the armorial bearings of the person represented. This did not, indeed, accurately identify the individual, but it made it easier to determine. There is a masterpiece of Vandyck’s in the National Gallery of England that goes by the name of “Gevartius.” But no one knows who Gevartius was. Here is an old man’s head made memorable for all time,—a head which would be thought cheap at $10,000, and which, if it were for sale, would attract connoisseurs from all parts of the civilized world, and it is without a name. How much more valuable and interesting it would be if its history were known! Therefore no feeling of modesty should prevent eminent characters from insuring the identity of their pictures. Let us imagine a picture of Abraham Lincoln and one of Professor Morse two hundred years hence, with the name attached in one case, 271 and a mere tradition of identity in the other, and it will be easy to estimate the difference in value.
Americans have been accused of an undue taste for portraiture; the taste has its foundation in the character of the nation. It corresponds with that estimation of the personal worth of a man, and that full appreciation of individual independence, which form such important elements in our national character.
The glory and the crown of physical perfection is beautiful hair. Venus would not charm us if she were bald, and neither poet, painter, nor sculptor would dare to give us a “subject” which should lack this, the charm of all other charms. Neither is it a modern fancy. Homer, when he would praise Helen, calls her “the beautiful-haired Helen,” and Petronius, in his famous picture of Circe, makes much of “trailing locks.”
The loveliness of long hair in woman seems never to have been disputed, and it had also a very wide acceptance as a mark of masculine strength and beauty. St. Paul, it is true, says that it is a shame to a man to have long hair, but his opinion is not to be taken without reservation, for both the 273 traditions of poetry and painting give to the Saviour, and also to the Beloved Disciple, long locks of curling brown hair. The Greek warriors and most of the Asiatic nations prided themselves on their long hair, and the Romans gave a great significance to it by making it the badge of a freeman. Cæsar, too, distinctly says that he always compelled the men of a province which he had conquered to shave off their hair in token of submission.
The Saxon and Danish rulers of England were equally famous for their long yellow locks, and the fashion continued with little or no intermission until the dynasty of the Tudor kings. They affected, for some reason or other, short hair; and “King Hal” is undoubtedly indebted for his “bluff look” to the short, thick crop which he wore. The fashion even extended to the women of that age, and their pictured faces, with their hair all hidden away under a coif, have a most hard, stiff, and unlovely appearance. Under the Stuarts, long, flowing hair again became fashionable with the Royalist party, who made their “love locks” the sign and 274 emblem of their loyalty. On the contrary, the Puritans made short hair almost a tenet of faith and a part of their creed. Within the last ten years hair has been again the sign of political feeling, for, during the Civil War, the Southern women in favor of the Confederacy wore one long curl behind the left ear, while those in favor of the Union wore one behind each ear.
During the last century men have gradually cut their hair shorter and shorter. They pretend, of course, fashion dictates the order; but a woman may be allowed to doubt whether necessity did not first dictate to fashion. Certainly ladies prefer in men hair that is moderately long, thick, and curling, to the penitentiary style of last year. And suppose they could have long hair, but cut it for their own comfort, the act says very little for their gallantry. I have no need to point to the chignons, braids, and artifices which women use to lengthen their hair in order to please men, who decline to return the compliment, even to a degree that would be vastly becoming to them.
After the length of hair, color is the point 275 of most interest. In reality there are but two colors, black and red. Brown, golden, yellow, etc., are intermediate, the difference in shade being determined by the sulphur and oxygen or carbon which prevails. In black hair, carbon exceeds; in golden hair, sulphur and oxygen. It has been insisted that climate determines the color of hair; that fair-haired people are found north of parallel 48°; brown hair between 48° and 45°; which would include Northern France, Switzerland, Bohemia, Austria, and touch Georgia and Circassia, Canada, and the northern part of Maine; and that below that line come the black-haired races of Spain, Naples, Turkey, etc., etc. But this is easily disproved. Take, for instance, the parallel 50° and follow it round the world. Upon it may be found the curly, golden-haired European; the black, straight hair of the Mongolian and American Indian, and again, in Canada, it will give us the fair-haired Saxon girl. So, then, it is race, and not climate, which determines the color. I am inclined to think, too, that temperament has something to do with it, since we find 276 black-haired Celts, golden-haired Venetians, and fair and black-haired Jews.
The ancient civilized nations passionately admired red hair. Greeks, Romans, Chinese, Turks, and Spaniards have given it to their warriors and beauties. Somehow among the Anglo-Saxon race it has a bad reputation. Both in novels and plays it is common to give the rascal of the plot “villanous red hair;” and in the English school of painters, the traitor Judas is generally distinguished by it. In the East, black is the favorite color, and the Persians abhor a red-haired woman. Light brown or golden hair is the universal favorite. The Greeks gave it to Apollo, Venus, and Minerva. The Romans had such a passion for it that, in the days of the Empire, light hair brought from Germany (to make wigs for Roman ladies) sold for its weight in gold. The Germans themselves, not content with the beautiful hair Nature had given them, made a soap of goat’s tallow and beechwood ashes to brighten the color. Homer loved “blondes,” and Milton and Shakespeare are full of golden-haired beauties, while the 277 pages of the novelist and the galleries of painters, ancient and modern, show the same preference.
Lavater insists greatly on the color of hair as an index to the disposition. “Chestnut hair,” he says, “indicates love of change and great vivacity; black hair, passion, strength, ambition, and energy; fair hair, mildness, tenderness, and judgment.”
Fashion has dressed the hair in many absurd and also in many beautiful forms; but through all changes, curls, floating free and natural, have had a majority of admirers. Some one says that “of all the revolvers aimed at men’s hearts, curls are the most deadly,” and from the persistent instinct of women in retaining them, I am inclined to indorse this statement. The Armenians and some other Asiatics twist the hair into the form of a mitre; the Parthians and Persians leave it long and floating; the Scythians and Goths wear it short, thick, and bristling; the Arabians and kindred people often cut it on the crown. In the South of Europe, “to be in the hair” is a common expression for unmarried girls, because they wear their 278 hair long and flowing, while matrons put it up in a coil at the back of the head.
Until the ninth century in England, Nature pretty much led the fashions in hair-dressing; then plaits turned up on each side of the cheek were introduced; and in the eleventh century the hair all disappeared under the head-dress of that time. Early in the sixteenth century ladies began to “turn up” the hair. Queen Margaret of Navarre frizzed and turned back her abundant locks just as the women of our own day do. The custom, too, that is now prevalent of braiding the hair in two long locks and tying them at the ends with ribbons was a favorite style in the early part of the seventeenth century. In the eighteenth century women used powder to such an extent as almost to destroy the color of the hair, and during the past hundred years every possible arrangement and non-arrangement has had a temporary favor.
I have nothing to say about the customs of the present day. If there is any property in which a woman has undisputed right, it is 279 surely in her own hair; and if she chooses to wear it in an unbecoming or inartistic style, it is certainly no one’s business that I can perceive. Assuredly not the men’s, since I have already shown that they, either through inability or selfishness, decline to wear the thick, flowing locks with which Nature crowns manly strength and beauty, and which are all women’s admiration.
The majority of women have a natural taste in this matter, and very few are so silly as to sacrifice their beauty to fashion. Two or three rules are fundamental in all arrangements of the hair: one is that a superabundance at the back of the head always imparts an animal expression; another, that it is peculiarly ugly to sweep the whole forehead bare. The Greeks, supreme authorities on all subjects of beauty and taste, were never guilty of such an atrocity. In all their exquisite statues the hair is set low. A third is that “bands” are the most trying of all coiffures, and never ought to be adopted except by faces of classic beauty. To add them to a round, merry face with a nose retroussé is as absurd as to put a 280 Doric frieze on an irregular building. A general and positive one is that all hair is spoiled, both in quality and color, by oiling, for it takes from it that elasticity and lightness which is its chief charm and characteristic; the last (which I have no hope ladies will heed just at present) is, never to hide the natural form of the head.
If we come to reflect upon it, in middle age we find that the one great cause of departure from the ideal in real life is our liability to take cold. Almost all our pleasures are bound up with this probability, for when we have taken cold we are far too stupid either to give or enjoy pleasure. And there is no philosophy connected with colds. Serious illnesses are full of instruction and resignation, but who thinks of being resigned to a cold, or of making a profitable use of it?
“Chilly” is a word that of late years has come to be a frequent and pitiably significant one on the lips of the middle-aged. They have a terror of the frost and snow which they once enjoyed so keenly, and they really suffer much more than they will allow themselves to confess.
The most invigorating and inspiriting of all climates is 64°, but if the glass fall to 282 50°, chilly people are miserable; they feel draughts everywhere, especially on the face, and very likely the first symptoms of a neuralgic attack. At 40°—which must have been the in-door winter temperature of our forefathers—they become irritable and shivery, and lose all energy. If the temperature fall below 30°, they “take cold,” and exhibit all the mental inertia and many of the physical symptoms of influenza, which nevertheless has not attacked them.
Let us at once admit a truth: the young and robust despise the chilly for their chilliness, for there is such a thing as physical pride, and a very unpleasant thing it is in families. These physical Pharisees are always recommending the “roughing” and “hardening” process, and they would gladly revive for the poor invalid the cold-water torture of the past.
Without being conscious of it, they are cruel. Chilly people are not made better by the unsympathetic remarks of those of quicker blood. There is no good in assuring them that the cold is healthy and seasonable. They feel keenly the half-joking 283 imputation of “cosseting,” though perhaps they are too inert and miserable to defend themselves.
Strong walking exercise is the remedy always proposed. Many cannot take it. Others make a laudable effort to follow the prescription, and perhaps during it feel a glow of warmth to which in the house—though the house is thoroughly warmed—they are strangers. But half an hour after their return home the tide of life has receded again, and they are as chilly and nervous as before.
Nevertheless, they have passed through an experience which, if they would consider it, indicates their relief, if not their cure. While out-of-doors they thought it necessary to cover their feet with warm hosiery and thick boots, the head with a bonnet and veil, their hands with gloves and a fur muff, their body with some fur or wadded garment half an inch thick. In short, when they went out they imitated Nature, and protected themselves as she does animals.
But just as soon as they return home 284 they uncover their head and hands, replace the warm, heavy clothing of the feet with some of a more elegant but far colder quality, and take off altogether the thick warm garments worn out-of-doors. A bear that should follow the same course when it went home to its snug subterranean den would naturally enough die of some pulmonary disease. Nations which are subjected to long and severe winters have learned the more natural and excellent way. The Laplander keeps on his fur, the Russian his wadded garment, the Tartar his sheep-skin, the Shetlander goes about in his house in his wadmal. It is only in our high state of civilization that men and women divest themselves of half their clothing with the thermometer below zero, and then run to the fire to warm their freezing hands and feet.
If warm clothing protects us out of the house, it will do the same in the house; and it is no more “coddling,” and much more sensible and satisfactory than cowering over a grate. Under the head-dress a silk skullcap is a most effective protection against 285 draughts, and would prevent many an attack of neuralgia. A silk or wash-leather vest will keep the body at a more equable temperature than the best fire. A shawl to most middle-aged ladies is a graceful toilet adjunct even in the house, and it is capable of retaining as well as of imparting much warmth. When very chilly after removal of outside wraps, or from any other cause, try a wadded dressing-gown over the usual clothing. In five minutes the added comfort will be recognized.
The secret is, then, to keep the body at its proper temperature in the house by the adoption of sufficient warm clothing, instead of trusting to artificially heated atmosphere. No one will be more liable to take cold out of the house because she has been warm in the house. There is no more sense in shivering in-doors in order to prepare the body to endure the out-door climate than there would be in sleeping with too few blankets for fear of increasing the sense of cold when out of bed.
A stuffy room, with air constantly heated to 75°, is the most efficacious invention 286 ever devised for ruining health. But it is equally true that habitual warmth is the very best preserver of constitutional strength in middle and old age; and undoubtedly this is best maintained by a temperature of 68° and plenty of clothing.
A very important aid to warmth is a proper diet. Many women who suffer continually from a sense of chill, below the tide of healthy life, have yet constantly at hand an abundance of nourishing food. But they eat one day at one hour, the next at another; they don’t care what they eat, and take anything a flippant-minded cook chooses to send them; they wait for some one when themselves hungry, out of mere domestic courtesy; and when their husbands are from home they take tea and biscuits because it is not worth while giving servants the trouble of cooking for them alone. In all these and many similar ways vitality is continually lost, and with every loss of vitality there is a corresponding access of slow, chilly, shivering inertia.
It is a great mistake that women are taught from childhood that it is meritorious 287 in their sex to conceal their own wants, and to postpone their own convenience to that of fathers, brothers, husbands, and even servants. For in the end they break down, and are left in a state of ill health in which all the wheels of life run slow. The trouble, in a sentence, is that women have no wives—no one to remind them when they are in a draught, or come in with wet feet, no one to get them a warm drink when chilly, and ward off the little ills (which soon become great ones) by loving, thoughtful, constant care and attention.
All women know how hard it is to live the usual life of work and amusement in a physical condition of far below the requisite strength. Nothing induces this condition like chronic chill. In it no vitality can be gained, and very much may be continually lost. Therefore every plan should be tried which promises to raise the temperature to a healthy standard. Try the effect of a room heated to 68°, and plenty of warm, constantly warm clothing.
“It is unpleasant not to have money,” says Mr. Hazlitt; indeed, it has become a sort of social offence to be short of virtue in this respect; for both nationally and personally, we are loath to confess so tragic a calamity. We may assert that, having food and clothes, we are therewith content, and that we would not encounter the perils and snares of vast wealth; but are we quite sure that this humility and contentment is not a fine name for being too lazy to earn money, or too extravagant to keep it? Again, if all were content with the simple satisfaction of their necessities—if nobody wanted to be rich—nobody would be industrious or frugal, or strive to acquire knowledge. Who then would build our churches, and endow our colleges? Who would send out missionaries, and encourage science and inventions? 289 The golden grapes may be out of our reach, but they are a noble fruit when pressed by kindly hands, and have given graciously unto the world their wine of consolation.
The fact is that we have come to a time in which the want of money is about as bad a moral distemper as the love of it. The latter position is an admitted truth; the former is only beginning to put forth its claims to the notice of professed moralists. Whatever special virtue there was in poverty seems to be in direct antagonism to the spirit of the present day; for there is no doubt that worldly prosperity has come to be regarded as one of the legitimate fruits of the gospel. The modern Church puts forth her hands and grasps the promise of the life that now is, as well as that which is to come. Why not? Money gives a power of doing good that nothing material can equal. Even “The Truth” has now to depend on the currency, and the most evangelical societies pay treasurers as well as missionaries.
The amount of money in a man’s pocket is a great moral factor. He who has plenty of ready cash and is not good-natured needs a 290 thorough change, and nothing but being born again will cure him. But the man who is in a chronic state of poverty is a man placed in selfish relations to every one around him. How hard it is for such a one to be generous, just, and sympathetic! He is almost compelled to look on his fellow-creatures with the eye of a slave-merchant, to consider: How can they profit me? What can I gain by them? He must marry for money, or not marry for the want of it. His friendship is a kind of traffic. His religion is subject to considerations, for he will either go to church for a certain connection, or he will not go at all because of the collections.
Now, there is abundance of living strength in Christianity to meet this and all other special wants of the age. There is no doubt that money is the principle of our social gravitation, and we need preachers who will not be afraid to tell us the truth, even though nobody has ever told it just in that particular way before. We accept without demur all that has been said about the evils of loving money; will some of our spiritual teachers tell us how to avoid the evils and cure the 291 moral and physical distress caused by the want of money? That this is a gigantic evil, we have constant proof in the daily papers; in murder, theft, suicide, domestic misery and cruelty. These criminals are far seldomer influenced by the love of money than by the want of it. If instead of being without a dollar, they had had sufficient for their necessities, would they have run such risks, incurred such guilt, staked life on one desperate chance, flung it away in despairing misery?
Of course the word “sufficient” is very elastic. It can be so moderate and temperate; and again it can grasp at impossibilities. “My wants,” said the Count Mirabel, “are few: a fine house, fine carriages, fine horses, a complete wardrobe, the best opera box, the first cook, and plenty of pocket-money—that is all I require.” He thought his desires very temperate; so also did the Scotchman, who, praying for a modest competency, added, “and that there be no mistake, let it be seven hundred pounds a year, paid quarterly in advance.” There are indeed all sorts of difficulties connected with 292 this question, and anybody can find their way into them. But there must also be a way out; and if our guides would survey the ground a little, they would earn and have our thanks. For undoubtedly this want of money is as great a provocation to sin as the love of it. An empty purse is as full of wicked thoughts as an evil heart; and the Father who allotted seven guardian angels to man, and made five of them hover round his pockets—empty or full—knew well his most vulnerable points.
Have wood and paper and upholstery really any moral and emotional agencies?
Certainly they have. Not very obvious ones perhaps, but all-pervading and ever-persistent in their character; since there is no day—scarcely an hour—of our lives in which we are not, either passively or consciously, subject to their influences. Our cravings after elegance of form, glimmer and shimmer of light and color, insensibly elevate and civilize us; and the men and women condemned to the monotony of bare walls and unpicturesque surroundings—whether they be devotees in cells, or felons in dungeons—are the less human for the want of these things. The want, then, is a direct moral evil, and a cause of imperfection.
The desire for beautiful surroundings is a natural instinct in a pure mind. How tenaciously people who live in dull streets, and who never see a sunrise, nor a mountain peak, nor an unbroken horizon, cling to it is proved on all sides of us by the picturesqueness which many a mechanic’s wife imparts to her little twelve-feet-square rooms. And it is wonderful with what slender materials she will satisfy this hunger of the eye for beauty and color. A few brightly polished tins, the many-shaded patchwork coverlets and cushions, the gay stripes in the rag carpet, the pot of trailing ivy or scarlet geranium, the shining black stove, with its glimmer and glow of fire and heat, are made by some subtle charm of arrangement both satisfactory and suggestive.
In spite of all arguments about the economy of “boarding,” who does not respect the men or women who, at all just sacrifices, eschew a boarding-house and make themselves a home?
A man without a home has cast away an anchor; an atmosphere of uncertainty clings about him; he advertises his tendency to 295 break loose from wholesome restraints. So strongly is the force of this home influence now perceived that the wisest of our merchants refuse to employ boys and women without homes, while the universal preference is in favor of men who have assumed the head of the house, and thus given hostage to society for their good behavior.
But a house is not a home till it is swept and garnished, and contains not only the wherewithal to refresh the body, but also something for the comfort of the heart, the elevation of the mind, and the delight of the eye.
If we would fairly estimate the moral power of furniture, let us consider how attached it is possible for us to become to it. There are chairs that are sacred objects to us: the large, easy one, in which some saint sat patiently waiting for the angels; the little high chair which was some darling baby’s throne till he “went away one morning;” the low rocker, in which mother nursed the whole family of stalwart sons and lovely daughters.
Ask any practised student or writer how 296 much he loves his old desk, with its tidy pigeon-holes and familiar conveniences. Have they not many a secret between them that they only understand? Are they not familiar? Could they be parted without great sorrow and regrets? Nothing is more certain than that we do stamp ourselves upon dead matter, and impart to it a kind of life. Is there a more pathetic picture than that of Dickens’s study after his death? Yet no human figure is present; there is nothing but furniture, the desk on which he wrote those wonderful stories, and the empty chair before it.
Nothing but the empty chair and the confidential desk to speak for the dead master; but how eloquently they do it!
Our furniture ought, therefore, to be easy and familiar. We cannot give our hearts to what is uncomfortable, no matter how quaint or rich it may be. And though it is always pleasant to have colors and forms assorted with perfect taste, it is not desirable to have the effect so perfect that we are afraid to make use of it, lest we destroy it. No furniture ought to be so fine that we dare not light a 297 fire for fear of smoking it, or let the sunshine in for fear of fading it. In such rooms we do not lounge and laugh and eat and rest and live,—we only exist.
The proper character of drawing-rooms is that of gayety and cheerfulness. This is attained by light tints, and brilliant colors and gilding; but the brightest colors and the strongest contrasts must be on the furniture, not on the walls and ceilings. These must be subordinate in coloring, or the effect will be theatrical and vulgar.
The dining-room ought to be one of the pleasantest in the house; but it is generally in the basement. It ought to be a room in which there is nothing to remind us of labor or exertion, for we have gone there to eat and to be refreshed. A few flowers, a dish of fruits, snowy linen and china, glittering glass and silver, a pleasant blending of warm and neutral tints are essentials. For ornaments, rare china, Indian vases, Eastern jars suggestive of fine pickles or rare sweetmeats, and a few pictures on the walls, representing only pleasant subjects, and large enough to be examined without exertion, are the best.