In truth, the little place is snug enough, and certainly holds a good deal for its size. On one side is an earthen water-jar, on the other a huge blanket-like cloak, which probably represents Mr. Selim's whole stock of bedding. A copper stew-pan is fixed to a spike driven into the wood, while just above it a small iron funnel, neatly fitted into a knot-hole of the trunk, does duty as a chimney. Around the sides of the hollow hang a long pipe, a tobacco-pouch, a leathern wallet, and some other articles, all bearing marks of long service; while to crown all, my guide shows me, triumphantly, just outside the door, a wooden shelf with several pots of flowers—a garden that just matches the house.
Having given us this sight of his house-keeping, the old gentleman (who has been standing like a statue during the whole inspection) silently holds out his hand. I drop into it a double piastre (ten cents) and take my leave, reflecting that if it is good to be content with little this old hermit is certainly a bit of a hero in his way.
[IN BELGIUM.]
After rolling and tossing for twenty-four hours upon the German Ocean, the sight of land should be hailed with a spirit of thankfulness. But of all inhospitable shores, those of the Belgian coast, in the month of November, must carry the palm. The waters, gray and rough, dash upon a sandy beach for miles and miles, showing no signs of life, if we except an occasional wind-mill in action. Row after row of poplar trees form a partial back-ground. Somewhat stripped of their leaves, they have the appearance of so many gray pillars holding up the sky.
As the low-built towns with their red houses rise to view, and the dikes present themselves, if this be the first introduction into Continental Europe, the foreignness stands out in bold relief. But as you ascend the river the villages are more interesting and indications of life more frequent. Long before reaching the pier at Antwerp, its towers salute the travellers, and the gratitude becomes apparent on each and every visage.
Our little windows in the above-mentioned city overlooked its prettiest park, in the centre of which stands the statue of Rubens. At the right, yet full in view, stands the Cathedral of Notre Dame, famous for its ninety-nine bells (why not one more?) and the masterpieces of the great artist of Antwerp.
Of these paintings, the "Assumption," which has within a comparatively short time been restored, is truly beautiful, the countenances of the several figures wearing a pure expression, which is not a characteristic of the Rubens face in general. The fame of the others is perhaps yet greater than that of the "Assumption," and everywhere in our own country are engravings and photographs of the same, on exhibition or in private collections. Before these the lover of art lingers to study, and studying continues to linger. For me, alas! these chef d'oeuvres, "The Ascent to the Cross" and the "The Descent from the Cross," have no attractions.
The music of the bells at sunset repays one, not only for the tumble of the German Sea, but for the voyage across the Atlantic, especially in the autumn, when the twilights are so short that the Mall is lightest as the sun goes down. This music singularly contrasts with the noise made by the footfall of the peasants. This numerous class, hurrying home at dusk, take the park as their shorter course. The click-clack of the hundreds of wooden shoes of all sizes and intensities, rapidly "getting by," is something that can never be imagined. As these articles of apparel are seldom of a snug fit in the region of the heel, there is a peculiar introduction to each grand step. The quantity and quality of this noise are astonishing; the novelty, a charm.