"Mr. Deering, take me to the dairy. I have not yet seen it," said Millicent one afternoon, as they all sat together on the wide piazza, after the early dinner. The young man rose slowly, his great length unfolding itself as he left his chair; and for answer put down his pipe and reached up for Millicent's hat, which he had hung on a peg high above her reach. The two young people passed down the gravel walk between the broad flower beds fragrant with the wonderful roses which grow only upon the shores of the Pacific. A geranium tree twelve feet high, with its great scarlet bunches, and the vine of Maréchal roses which climbed up the piazza and tapped with its heavy blossoms at her casement, aroused Millicent's enthusiasm.
The dairy, Hal told her, was fully thirty years old. But her own palace had frowned grim and black upon the Grand Canal before the passengers on the good ship "Mayflower" had landed in Plymouth. The dairy was a plain, neat frame-building painted white, looking out upon a great farm-yard. Here the pretty cows all stood crowded together, waiting their turn to offer up their evening tribute. Two black-browed Mexicans were milking, and a tall Yankee was overseeing the straining of the milk. He stood by a large trough and received the brimming buckets from the milkers, pouring their contents through a strainer into the great receptacle. In the midst of the herd lay Jupiter, the splendid bull, lazily chewing his cud and switching away the sand flies with his thick black tail.
In a cool inner room were long shelves ranged about the brick walls, whereon stood a shining array of pans filled with milk in different stages. Millicent was one of those people who are always stimulated with a desire to accomplish whatever other people are engaged in doing. She now announced her intention of learning to milk. This suggestion was promptly vetoed by Hal, who, to divert her attention, called to one of the men to bring him the skimming utensils. He placed a large stone jar beneath the shelf, and taking one of the milk pans which was covered with a rich coating of yellow cream, proceeded to skim it. His only tool was a little wooden wand, resembling a sculptor's modelling stick. With this he separated the yellow disk of cream from the sides of the pan, tipping it slightly so that the whole mass of cream slipped off unbroken, leaving the pale-blue skimmed milk in the vessel. Millicent was delighted with the operation which Hal accomplished with such skill, and after many unsuccessful attempts finally performed the feat in a manner very creditable to a beginner.
"If you will find your way back to the house, Princess, I will help the men to finish the milking," said young Deering, when Millicent had announced her intention of returning.
She nodded her assent, and walking a few steps stopped and leaned over the gate of the farm-yard. Presently Deering came out from the dairy, having donned his rough overalls and jersey, and, placing himself on a three-legged stool, proceeded to milk a tall white cow. Millicent looked at him musingly for a few minutes, and then took her way down the path which led to the house. It was but a short distance, and lay within sight of both farm and dwelling-house, and yet she was somewhat astonished at the young man's allowing her to return alone. To see him milking, too, at work with the common laborers, had greatly perplexed her. She cast a glance over her shoulder to reassure herself that it was really Hal's hatless head which was bending forward, almost touching the side of the white cow. "And yet he is a gentleman," she said aloud; and, remembering the white hands of her papa and the gentlemen whom she had known in the Old World, was reminded of the truth, which when it is spoken seems a truism, and yet which is often lost sight of, that the proof of gentlehood lies neither in the skin of the body, nor its raiment.
Neither goodly clothes nor skin
Show the gentleman within.
CHAPTER III.
"And to watch you sink by the fireside now
Back again, as you mutely sit
Musing by fire-light, that great brow
And the spirit-small hand propping it."
John Douglass Graham, by birth American, by descent Scottish, by profession painter, sat looking out from his tower window. It was too dark to paint, and not yet late enough for him to light his study lamp and begin his evening work; so he sat idle, a rare thing for him. Before his window there stretched a fair landscape; and a man, a painter above other men, might well be forgiven an hour's idleness in such a place. The sun's last rays made the little copse look more golden and dreamy than did the stronger morning light. The still pool with its warm reflection of sky and trees, the mysterious dark wood beyond, all shadowy and full of dreams, made a picture which his hand never wearied of reproducing. On his easel stood a canvas which bore a reflection of the scene on which he was looking, painted in a strong, masterly manner, but not yet completed. "Ah, Heavens! no wonder that men love to paint in cities, with nothing of nature's beauty before them to shame their work. If I dwelt face to face with a brick wall and saw no motion save that of horse-cars and over-laden dray horses I might be more satisfied with what I accomplish. This picture might then seem beautiful to me. It is a different thing to look into the face of the great model and then at one's work. Only the strongest of us can do that, only our Duprés and Rousseaus. Shall I ever feel that I can even dimly picture this one view? Can I ever send my testimony of beauty to the world? Can I say the one word of truth which was given me to speak?"
Graham spoke to the four walls to which most of his conversation was addressed. The only sympathy he ever received in his bursts of enthusiasm or despair was from a portrait which hung where the first rays of light fell upon it in the morning. It was the portrait of a woman neither young nor beautiful with the beauty of youth. A tender, sad face, with those heavy lines at the mouth and nose which tell of grief and long weeping. The gray hair was smoothly brushed from the forehead, and the whole mien and costume showed that dignity of age so rarely seen in these days when grandmothers dress in rainbow-hued garments fit for their grandchildren, curl and frizzle their locks after the mode worn by the reigning beauty of the time, and in every possible way simulate a youth whose charm they have not, thus losing the real grace which belongs to their age. Before his mother's portrait the artist always kept fresh flowers, and to that dear and noble face his eyes were turned in a mute appeal for sympathy many times during the long solitary day.