“Grandfather himself prefers a lamp,” Stella remarked, in passing; “he says he’s got past tallow dips, but out of respect to grandmother’s memory—I impressed that on him strongly—he lets me keep the stand just as she used it.”
She certainly had a genius for restoring the old, and doing it with an art which threw all its stiffness into graceful lines. The fireplace in the sitting room, which had been boarded up in Esther’s day, with a sheet-iron stove in front of it, was open now, and the old brass andirons shone at the front. The old bricks had been cracked with age, but they had been replaced by some blue Dutch tilings representing Bible scenes, which gave the whole a charmingly quaint effect.
“It came high,” Stella said to Esther, who hung on every word of explanation, “and I didn’t know for a while as I should get what I wanted. There was a Colonial tile that would have been perfect, but grandfather wouldn’t hear of it. Then all at once I lighted on this in a shop in Boston, and I knew the deed was done. Grandfather fell a victim to my account of the pictures, and I couldn’t get them quick enough to suit him. I consider that fireplace my greatest triumph.”
The house was really a succession of them. It was only at the pictures on the walls that the girl’s desire to restore the old had stopped. “If there had only been some fine old family portraits!” she said mournfully. “But there weren’t. I suppose our ancestors never had any money to spend for that sort of thing. There was positively nothing but some wretched prints, and one oil painting that grandmother saved her egg-money for months to buy; hideous thing, quite on the order of those that are advertised nowadays, ‘Picture painted while you wait.’ I had to banish them all. There was no other way. But I found some of grandmother’s dear old samplers tucked away in the drawers, and I pinned them up around to take the edge off the other things.”
“The other things” were some of them her own, and they mingled on the walls with photographs of foreign scenes, and here and there an etching with a name pencilled in the corner, to which she called attention as they passed, with the air of one confident of impressing the beholder.
“Oh, I’ve picked up a few good things in the course of my travels,” she said, after one of Esther’s bursts of admiration. “I’ll defy anybody to make a better showing than I with the amount I’ve spent. Mother thinks I’ve spent too much; but it’s my only extravagance, positively my only one, and you have to let yourself out in some direction. It’s all that makes saving worth while.”
She seemed to have no vanity about her own work, but there was one bit of it before which Esther paused with a long delight, turning back from famous Madonnas again and again to gaze at it.
It was a picture of a sweet old face, framed in a grandmother’s cap, very softly done in crayon, and it hung above the little stand in the corner. Below it, pinned carefully on the wall, was an old, old sampler, and the faded letters at the top spelled, “Roxana Fuller, aged eleven.” It was a deft hand, though so young, that had wrought it. There was exquisite needlework in the flowing border, and in the slender maidens at the centre, clasping hands under a weeping willow, above the lines:—
“When ye summers all are fled,
When ye wafting lamp is dead,
Where immortal spirits reign,
There may we two meet again.”
Why these two sweet creatures, evidently in the bloom of life, should have been consoling themselves with this pensive sentiment it was hard to see; but a consolation it may have been to the poor little artist who achieved them to think of Elysian fields where teachers should cease from troubling and samplers be no more.