Worsted work was an unfailing accompaniment of her journeyings in those days; indeed, until age and weariness came upon her, she never failed to have some piece of work on hand. When her eyes could no longer compass cross-stitch embroidery, she amused herself with knitting, or with "hooking" small rugs.
Her sketchbook was another resource while travelling. She had no special talent for drawing, but took great pleasure in it, and was constantly making pencil sketches of persons and things that interested her. We even find patterns of Pompeiian mosaic or of historic needlework reproduced in the Journal.
From Paris the travellers hurried to Belgium, and after a glance at Brussels, spent several days in Antwerp with great contentment. Both here and in Brussels she had been much interested in the beautiful lace displayed on every hand. She made several modest purchases, not without visitings of conscience.
"I went to the Cathedral.... I saw to-day the Elevation of the Cross [Rubens] to special advantage. As I stood before it, I felt lifted for a moment above the mean and foolish pleasures of shopping, etc., on which I have of late dwelt so largely. The heroic face before me said, 'You cannot have those and these, cannot have Christian elevation with heathen triviality.' That moment showed me what a picture can do. I hope I shall remember it, though I do plead guilty of late to an extraordinary desire for finery of all sorts. It is as if I were going home to play the part of Princess in some great drama, which is not at all likely to be the case."
Yet the same day she went to the beguinage and bought "Flossy's wedding hdkf, 22 frc—lace scarf, 3 fr., piece of edging, 4 fr."
Among the notabilities of Antwerp in those days was Charles Félu, the armless painter. He was to be seen every day in the Museum, copying the great masters with skill and fidelity. He interested the Doctor greatly, and the whole party made acquaintance with him. A letter from one of them describes the meeting with this singular man:—
"As we were looking round at the pictures, I noticed a curious painting arrangement. There was a platform raised about a foot above the floor, with two stools, one in front of the other, and an easel. Presently the artist entered. The first thing he did, on stepping on the platform, was to kick off his shoes. He then seated himself (Heaven knows how) on one stool and placed his feet in front of him on the other, close before the easel. I was surprised to see that his stockings had no toes to them. But my surprise was much greater when I saw him take the palette in one foot and the brush in the other, and begin to paint. The nicety with which he picked out his brushes, rubbed the paints, erased with his great toe, etc., was a mystery to me.... In a few minutes he put his foot into his pocket, drew out a paper from which he took his card, and footed it politely to papa.... He shaves himself, plays billiards (and well, too), cards, and dominoes, cuts up his meat and feeds himself, etc."
"October 1. By accident went to the same hotel [in Bruges] to which I went twenty-four years ago, a bride. I recognized a staircase with a balustrade of swans each holding a stiff bulrush in its mouth.... Made a little verse thereupon."
From Belgium the way led to London; thence, after a brief and delightful visit to the Bracebridges at Atherstone, to Liverpool, where the China awaited her passengers. The voyage was long and stormy, thirteen days: the Journal speaks chiefly of its discomforts; but on the second Sunday we read: "X. preached a horrible sermon—stood up and mocked at philosophy in good English and bad Christianity. He failed alike of satire and of sense, and talked like a small Pharisee of two thousand years ago. 'Not much like the Sermon on the Mount,' quoth I; not theology enough to stand examination at Andover. Bluejackets in a row, unedified, as were most of us."
On October 25 the travellers landed in Boston, thankful to be again on firm land, and to see the family unit once more complete.