Mr. Burroughs has been his own architect; and I know many people who might wish that he had been theirs too. He planned and superintended the erection of his house, which is a four-gabled structure, with a porch in front and a broad balcony in the rear. Most of the timber for the upper story is oak from his old Delaware County farm. The stone of which the two lower stories are built was obtained on the spot, and is a dark slate plentifully veined with quartz. Great pains were taken in the building to turn the handsomest samples of quartz to the fore, and to put them where they would do the most good, artistically. Over the lintel of the door, for example, is a row of three fine specimens; and a big chunk, with mosses lying between its crystals, protrudes from the wall near the porch. The variety of color so obtained, with the drab woodwork of the upper story and the red Virginia vine, keeps the house, at all seasons, in harmony with its surroundings. It is no less so within; for doors, wainscots, window-frames, joists, sills, skirting-boards, floor and rafters are all of native woods, left of their natural colors, and skillfully contrasted with one another; one door being of Georgia pine with oak panels, another of chestnut and curled maple, a third of butternut and cherry, and so on. Grayish, or brownish, or russet wall-papers, and carpets to match, give the house very much of the appearance of a nest, into the composition of which nothing enters that is not of soft textures and low and harmonious color.
Roger Riordan.
GEORGE W. CABLE
GEORGE W. CABLE
AT NEW ORLEANS AND NORTHAMPTON
Far up in the “garden district” of New Orleans stands a pretty cottage, painted in soft tones of olive and red. A strip of lawn bordered with flowers lies in front of it, and two immense orange trees, beautiful at all seasons of the year, form an arch above the steps that lead up to the piazza. Here Mr. Cable made his home for some years, and here were written “The Grandissimes,” “Madame Delphine” and “Dr. Sevier.” Those who were fortunate enough to pass beyond its portals found the interior cosy and tasteful, without any attempt at display. The study was a room of many doors and windows with low bookcases lining the walls, and adorned with pictures in oil and water-colors by G. H. Clements, and in black and white by Joseph Pennell. The desk, around which hovered so many memories of Bras-Coupé and Madame Delphine, and gentle Mary, was a square, old-fashioned piece of furniture, severely plain, but very roomy.
Neither was comfort neglected; for a hammock swung in the study, in which the author could rest, from time to time, from his labors. Mr. Cable’s plan of work is unusually methodical, for his counting-room training has stood him in good stead. All his notes and references are carefully indexed and journaled, and so systematized that he can turn, without a moment’s delay, to any authority he wishes to consult. In this respect, as in many others, he has not, perhaps, his equal among living authors. In making his notes, it is his usual custom to write in pencil on scraps of paper. These notes are next put into shape, still in pencil, and the third copy, intended for the press, is written in ink on note-paper—the chirography exceedingly neat, delicate and legible. He is always exact, and is untiring in his researches. The charge of anachronism has several times been laid at his door; but this is an accusation it would be difficult to prove. Before attempting to write upon any historical point, he gathers together all available data without reckoning time or trouble; and, under such conditions, nothing is more unlikely than that he should be guilty of error. Mr. Cable has a great capacity for work, and his earlier stories were written under the stress of unremitting toil. Later, when he was able to emerge from business life and follow the profession of literature exclusively, he continued his labors in the church, and never allowed any engagement to interfere with his Sunday-school and Bible-classes. In his books, religion has the same place that it takes in a good man’s life. Nothing is said or done for effect; neither is he ashamed to confess his faith before the world.
It is perhaps strange that Mr. Cable should have the true artistic, as well as the religious, temperament, since these two do not invariably go hand in hand. Music, painting, and sculpture are full of charms for him, and he is an intuitive judge of what is best in art. His knowledge of music is far above the ordinary, and he has made a unique study of the usually elusive and baffling strains of different song-birds. He is such a many-sided man that he should never find a moment of the day hanging heavily upon his hands. The study of botany was a source of great pleasure to him, at one time; and he had, also, an aviary in which he took a deep interest.
Seemingly sedate, Mr. Cable is full of fun; and charming as he is in general society, a compliment may be paid him that cannot often be spoken truthfully of men of genius—namely, that he appears to the best advantage in his own home. His children are a merry little band of five girls and one boy, each evincing, young as they are, some distinctive talent. It is amusing to note their appreciation of ‘father’s fun,’ and his playful speeches always give the signal for bursts of laughter. This spirit of humor, so potent “to witch the heart out of things evil,” is either hereditary or contagious, for all of these little folks are ready of tongue. The friends whom Mr. Cable left behind him, in New Orleans, remember with regretful pleasure the delightful little receptions which have now become a thing of the past. Sometimes, at these gatherings, he would sing an old Scotch ballad, in his clear, sweet tenor voice, or one of those quaint Creole songs that he has since made famous on the lecture platform; or, again, he would read a selection from “Dukesborough Tales”—one of his favorite humorous works. Nothing was stereotyped or conventional, for Mr. Cable is, in every aspect of life, a dangerous enemy of the common-place. But the pleasant dwelling-place has passed into other hands; other voices echo through the rooms; and Mr. Cable has found a new home in a more invigorating climate.
The highway leading from the town of Northampton, Mass., which one must follow in order to find Mr. Cable’s house, has the aspect of a quiet country road, but is, in reality, one of the streets of the city, with underlying gas and water-pipes. It is studded with handsome dwellings, some of brick and stone, others of simple frame-work—each with velvet lawn shaded with spreading elms, and here and there a birch or pine. The romancer’s house is the last at the edge of the town, on what is fitly named the Paradise Road. It is a red brick building of two stories and a half, with a vine-covered piazza; and the smooth-cut lawn slopes gently down to the street, separated only from the sidewalk by a stone coping. Above all things, one is conscious, on entering here, of a sense of comfort and home happiness. The furniture is simple but exceedingly tasteful, of light woods with little upholstery; and the visitor finds an abundance of easy-chairs and settees of willow. The study is a delightful nook, opening by sliding doors from the parlor on one side and the hall on another. A handsome table of polished cherry, usually strewn with books and papers, occupies the center of the room, and, as in the old home, the walls are lined with book-shelves. A large easy-chair, upon which the thoughtful wife insisted, when the room was being fitted up, affords a welcome resting-place to the weary author. Sometimes she lends her gentle presence to the spot, and sits there, with her quiet needlework, while the story or lecture is in the course of preparation. One of the charms of this sanctum is the view from the two windows that extend nearly to the floor. From one may be descried the blue and hazy line of the Hampshire hills, while from the other one sees Mt. Holyoke and Mt. Tom uprearing their stately heads to the sky. Sloping down from the carriage-drive which passes it lies Paradise—a stretch of woods bordering Mill River. No more appropriate name could be given it, for if magnificent trees, beautiful flowers, green-clad hill and dell, and winding waters, and above all, the perfect peace of nature, broken only by bird-notes, can make a paradise, it is found in this corner of Northampton, itself the loveliest of New England towns. Mr. Cable confesses that this scene of enchantment is almost too distracting to the mind, and that, when deeply engaged in composition, he finds it necessary to draw the curtains.
If the days in Mr. Cable’s home are delightful, the evenings are not less charming. After the merry tea and the constitutional walk have been taken, the family gather in the sitting-room. Usually, two or three friends drop in; but if none come, the children are happy to draw closely around their father, while he plays old-time songs or Creole dances on his guitar. As he sings, one after another joins in, and finally the day is ended with a hymn and the evening worship. The hour is early, for the hard-working brain must have its full portion of rest. It is one of Mr. Cable’s firm-rooted principles that the mind can not do its best unless the body is well treated; and he gives careful attention to all rules of health. Apart from the brilliant fact of his genius, this is the secret of the evenness of his work. There is no feverish energy weakening into feverish lassitude; it moves on without haste, without rest. Mr. Cable well advised a young writer never to publish anything but his best; and it is this principle, doubtless, that has prevented him from thinking it necessary, as many English and American authors seem to fancy, to turn out a certain amount of printed matter every year. In addition to his literary labors, Mr. Cable is frequently absent from home on reading and lecture engagements, and great is the rejoicing of his family when they have him once more among them. Mr. Cable’s place in literature is as unique as that of Hawthorne. He is distinctively and above all things an American. He has not found it necessary to cross the water in search of inspiration; and he is the only American author of any prominence whose turn of mind has never been influenced by the foreign classics.