It is a block where the citizens have civic pride. A newspaper has not the least chance of lying about on the asphalt—some householder with a frequently barbered mustache will indignantly pounce upon it inside of an hour. No awe. is caused by the sight of vestibules floored with marble in alternate black and white tiles, scrubbed not by landladies, but by maids. There are dotted Swiss curtains at the basement windows and Irish point curtains on the first floors. There are two polished brass doorplates in a stretch of less than eight houses. Distinctly, it is not a quarter where children fill the street with shouting and little sticks.
Occasionally a taxicab drives up to some door without a crowd of small boys gathering; and young men in evening clothes are not infrequently seen to take out young ladies wearing tight-fitting gowns of black, and light scarfs over their heads. A Middle Western college fraternity has a club-house in the block, and four of the houses are private—one of them belonging to a police inspector and one to a school principal who wears spats.
It is a block that is satisfied with itself; as different from the Zapp district, where landladies in gingham run out to squabble with berry-venders, as the Zapp district is from the Ghetto.
Mrs. Arty Ferrard’s house is a poor relation to most of the residences there. The black areaway rail is broken, and the basement-door grill is rusty. But at the windows are red-and-white-figured chintz curtains, with a $2.98 bisque figurine of an unclothed lady between them; the door is of spotless white, with a bell-pull of polished brass.
Mr. Wrenn yanked this bell-pull with an urbane briskness which, he hoped, would conceal his nervousness and delight in dining out. For he was one of the lonely men in New York. He had dined out four times in eight years.
The woman of thirty-five or thirty-eight who opened the door to him was very fat, two-thirds as fat as Mrs. Zapp, but she had young eyes. Her mouth was small, arched, and quivering in a grin.
“This is Mr. Wrenn, isn’t it?” she gurgled, and leaned against the doorpost, merry, apparently indolent. “I’m Mrs. Ferrard. Mr. Poppins told me you were coming, and he said you were a terribly nice man, and I was to be sure and welcome you. Come right in.”
Her indolence turned to energy as she charged down the hall to the large double door on the right and threw it open, revealing to him a scene of splendor and revelry by night.
Several persons [they seemed dozens, in their liveliness] were singing and shouting to piano music, in the midst of a general redness and brightness of furnishings—red paper and worn red carpet and a high ceiling with circular moldings tinted in pink. Hand-painted pictures of old mills and ladies brooding over salmon sunsets, and an especially hand-painted Christmas scene with snow of inlaid mother-of-pearl, animated the walls. On a golden-oak center-table was a large lamp with a mosaic shade, and through its mingled bits of green and red and pearl glass stormed the brilliance of a mantle-light.
The room was crowded with tufted plush and imitation-leather chairs, side-tables and corner brackets, a couch and a “lady’s desk.” Green and red and yellow vases adorned with figures of youthful lovers crammed the top of the piano at the farther end of the room and the polished black-marble mantel of the fireplace. The glaring gas raced the hearth-fire for snap and glare and excitement. The profusion of furniture was like a tumult; the redness and oakness and polishedness of furniture was a dizzying activity; and it was all overwhelmingly magnified by the laughter and singing about the piano.