NEXT MORNING.
Quebec lay shining in the tender oblique light of the northern sun when they passed next morning through the Upper Town market-place and took their way towards Hope Gate, where they were to be met by the colonel a little later. It is easy for the alert tourist to lose his course in Quebec, and they, who were neither hurried nor heedful, went easily astray. But the street into which they had wandered, if it did not lead straight to Hope Gate, had many merits, and was very characteristic of the city. Most of the houses on either hand were low structures of one story, built heavily of stone or stuccoed brick, with two dormer-windows, full of house-plants, in each roof; the doors were each painted of a livelier color than the rest of the house, and each glistened with a polished brass knob, a large brass knocker, or an intricate bell-pull of the same resplendent metal, and a plate bearing the owner's name and his professional title, which if not avocat was sure to be notaire, so well is Quebec supplied with those ministers of the law. At the side of each house was a porte-cochère, and in this a smaller door. The thresholds and doorsteps were covered with the neatest and brightest oil-cloth; the wooden sidewalk was very clean, like the steep, roughly paved street itself; and at the foot of the hill down which it sloped was a breadth of the city wall, pierced for musketry, and, past the corner of one of the houses, the half-length of cannon showing. It had the charm of those ancient streets, dear to Old-World travel, in which the past and the present, decay and repair, peace and war, have made friends in an effect that not only wins the eye, but, however illogically, touches the heart; and over the top of the wall it had a stretch of such landscape as I know not what Old-World street can command: the St. Lawrence, blue and wide; a bit of the white village of Beauport on its bank; then a vast breadth of pale-green, upward-sloping meadows; then the purple heights; and the hazy heaven over them. Half-way down this happy street sat the artist whom they had seen before in the court of the Hôtel Dieu; he was sketching something, and evoking the curious life of the neighborhood. Two schoolboys in the uniform of the Seminary paused to look at him as they loitered down the pavement; a group of children encircled him; a little girl with her hair in blue ribbons talked at a window about him to some one within; a young lady opened her casement and gazed furtively at him; a door was set quietly ajar, and an old grandam peeped out, shading her eyes with her hand; a woman in deep mourning gave his sketch a glance as she passed; a calash with a fat Quebecker in it ran into a cart driven by a broad-hatted peasant-woman, so eager were both to know what he was drawing; a man lingered even at the head of the street, as if it were any use to stop there.
As Kitty and Mr. Arbuton passed him, the artist glanced at her with the smile of a man who believes he knows how the case stands, and she followed his eye in its withdrawal towards the bit he was sketching: an old roof, and on top of this a balcony, shut in with green blinds; yet higher, a weather-worn, wood-colored gallery, pent-roofed and balustered, with a geranium showing through the balusters; a dormer-window with hook and tackle, beside an Oriental-shaped pavilion with a shining tin dome,—a picturesque confusion of forms which had been, apparently, added from time to time without design, and yet were full of harmony. The unreasonable succession of roofs had lifted the top far above the level of the surrounding houses, into the heart of the morning light, and some white doves circled about the pavilion, or nestled cooing upon the window-sill, where a young girl sat and sewed.
"Why, it's Hilda in her tower," said Kitty, "of course! And this is just the kind of street for such a girl to look down into. It doesn't seem like a street in real life, does it? The people all look as if they had stepped out of stories, and might step back any moment; and these queer little houses: they're the very places for things to happen in!"
Mr. Arbuton smiled forbearingly, as she thought, at this burst, but she did not care, and she turned, at the bottom of the street, and lingered a few moments for another look at the whole charming picture; and then he praised it, and said that the artist was making a very good sketch. "I wonder Quebec isn't infested by artists the whole summer long," he added. "They go about hungrily picking up bits of the picturesque, along our shores and country roads, when they might exchange their famine for a feast by coming here."
"I suppose there's a pleasure in finding out the small graces and beauties of the poverty-stricken subjects, that they wouldn't have in better ones, isn't there?" asked Kitty. "At any rate, if I were to write a story, I should want to take the slightest sort of plot, and lay the scene in the dullest kind of place, and then bring out all their possibilities. I'll tell you a book after my own heart: 'Details,'—just the history of a week in the life of some young people who happen together in an old New England country-house; nothing extraordinary, little, every-day things told so exquisitely, and all fading naturally away without any particular result, only the full meaning of everything brought out."
"And don't you think it's rather a sad ending for all to fade away without any particular result?" asked the young man, stricken he hardly knew how or where. "Besides, I always thought that the author of that book found too much meaning in everything. He did for men, I'm sure; but I believe women are different, and see much more than we do in a little space."
"'Why has not man a microscopic eye?
For this plain reason, man is not a fly,'
nor a woman," mocked Kitty. "Have you read his other books?"
"Yes."