In the Catskills: Selections from the Writings of John Burroughs

by John Burroughs

But it is not of country life in general that I am to speak, but of some phases of farm life, and of farm life in my native State.

Many of the early settlers of New York were from New England, Connecticut perhaps sending out the most. My own ancestors were from the latter State. The Connecticut emigrant usually made his first stop in our river counties, Putnam, Dutchess, or Columbia. If he failed to find his place there, he made another flight to Orange, to Delaware, or to Schoharie County, where he generally stuck. But the State early had one element introduced into its rural and farm life not found farther east, namely, the Holland Dutch. These gave features more or less picturesque to the country that are not observable in New England. The Dutch took root at various points along the Hudson, and about Albany and in the Mohawk valley, and remnants of their rural and domestic architecture may still be seen in these sections of the State. A Dutch barn became proverbial. "As broad as a Dutch barn" was a phrase that, when applied to the person of a man or woman, left room for little more to be said. The main feature of these barns was their enormous expansion of roof. It was a comfort to look at them, they suggested such shelter and protection. The eaves were very low and the ridge-pole very high. Long rafters and short posts gave them a quaint, short-waisted, grandmotherly look. They were nearly square, and stood very broad upon the ground. Their form was doubtless suggested by the damper climate of the Old World, where the grain and hay, instead of being packed in deep solid mows, used to be spread upon poles and exposed to the currents of air under the roof. Surface and not cubic capacity is more important in these matters in Holland than in this country. Our farmers have found that, in a climate where there is so much weather as with us, the less roof you have the better. Roofs will leak, and cured hay will keep sweet in a mow of any depth and size in our dry atmosphere.

The Dutch barn was the most picturesque barn that has been built, especially when thatched with straw, as they nearly all were, and forming one side of an inclosure of lower roofs or sheds also covered with straw, beneath which the cattle took refuge from the winter storms. Its immense, unpainted gable, cut with holes for the swallows, was like a section of a respectable-sized hill, and its roof like its slope. Its great doors always had a hood projecting over them, and the doors themselves were divided horizontally into upper and lower halves; the upper halves very frequently being left open, through which you caught a glimpse of the mows of hay, or the twinkle of flails when the grain was being threshed.

The old Dutch farmhouses, too, were always pleasing to look upon. They were low, often made of stone, with deep window-jambs and great family fireplaces. The outside door, like that of the barn, was always divided into upper and lower halves. When the weather permitted, the upper half could stand open, giving light and air without the cold draught over the floor where the children were playing that our wide-swung doors admit. This feature of the Dutch house and barn certainly merits preservation in our modern buildings.

The large, unpainted timber barns that succeeded the first Yankee settlers' log stables were also picturesque, especially when a lean-to for the cow-stable was added, and the roof carried down with a long sweep over it; or when the barn was flanked by an open shed with a hayloft above it, where the hens cackled and hid their nests, and from the open window of which the hay was always hanging.

Then the great timbers of these barns and the Dutch barn, hewn from maple or birch or oak trees from the primitive woods, and put in place by the combined strength of all the brawny arms in the neighborhood when the barn was raised,—timbers strong enough and heavy enough for docks and quays, and that have absorbed the odors of the hay and grain until they look ripe and mellow and full of the pleasing sentiment of the great, sturdy, bountiful interior! The "big beam" has become smooth and polished from the hay that has been pitched over it, and the sweaty, sturdy forms that have crossed it. One feels that he would like a piece of furniture—a chair, or a table, or a writing-desk, a bedstead, or a wainscoting—made from these long-seasoned, long-tried, richly toned timbers of the old barn. But the smart-painted, natty barn that follows the humbler structure, with its glazed windows, its ornamented ventilator and gilded weather vane,—who cares to contemplate it? The wise human eye loves modesty and humility; loves plain, simple structures; loves the unpainted barn that took no thought of itself, or the dwelling that looks inward and not outward; is offended when the farm-buildings get above their business and aspire to be something on their own account, suggesting, not cattle and crops and plain living, but the vanities of the town and the pride of dress and equipage.

Indeed, the picturesque in human affairs and occupations is always born of love and humility, as it is in art or literature; and it quickly takes to itself wings and flies away at the advent of pride, or any selfish or unworthy motive. The more directly the farm savors of the farmer, the more the fields and buildings are redolent of human care and toil, without any thought of the passer-by, the more we delight in the contemplation of it.

It is unquestionably true that farm life and farm scenes in this country are less picturesque than they were fifty or one hundred years ago. This is owing partly to the advent of machinery, which enables the farmer to do so much of his work by proxy, and hence removes him farther from the soil, and partly to the growing distaste for the occupation among our people. The old settlers—our fathers and grandfathers—loved the farm, and had no thoughts above it; but the later generations are looking to the town and its fashions, and only waiting for a chance to flee thither. Then pioneer life is always more or less picturesque; there is no room for vain and foolish thoughts; it is a hard battle, and the people have no time to think about appearances. When my grandfather and grandmother came into the country where they reared their family and passed their days, they cut a road through the woods and brought all their worldly gear on a sled drawn by a yoke of oxen. Their neighbors helped them build a house of logs, with a roof of black-ash bark and a floor of hewn white-ash plank. A great stone chimney and fireplace—the mortar of red clay—gave light and warmth, and cooked the meat and baked the bread, when there was any to cook or to bake. Here they lived and reared their family, and found life sweet. Their unworthy descendant, yielding to the inherited love of the soil, flees the city and its artificial ways, and gets a few acres in the country, where he proposes to engage in the pursuit supposed to be free to every American citizen,—the pursuit of happiness. The humble old farmhouse is discarded, and a smart, modern country-house put up. Walks and roads are made and graveled; trees and hedges are planted; the rustic old barn is rehabilitated; and, after it is all fixed, the uneasy proprietor stands off and looks, and calculates by how much he has missed the picturesque, at which he aimed. Our new houses undoubtedly have greater comforts and conveniences than the old; and, if we could keep our pride and vanity in abeyance and forget that all the world is looking on, they might have beauty also.

The man that forgets himself, he is the man we like; and the dwelling that forgets itself, in its purpose to shelter and protect its inmates and make them feel at home in it, is the dwelling that fills the eye. When you see one of the great cathedrals, you know that it was not pride that animated these builders, but fear and worship; but when you see the house of the rich farmer, or of the millionaire from the city, you see the pride of money and the insolence of social power.

Machinery, I say, has taken away some of the picturesque features of farm life. How much soever we may admire machinery and the faculty of mechanical invention, there is no machine like a man; and the work done directly by his hands, the things made or fashioned by them, have a virtue and a quality that cannot be imparted by machinery. The line of mowers in the meadows, with the straight swaths behind them, is more picturesque than the "Clipper" or "Buckeye" mower, with its team and driver. So are the flails of the threshers, chasing each other through the air, more pleasing to the eye and the ear than the machine, with its uproar, its choking clouds of dust, and its general hurly-burly.