There could be nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment.
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment.
Poe - 5
?
Project Gutenberg's The Works of Edgar Allan Poe, by Edgar Allan Poe
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Title: The Works of Edgar Allan Poe
Volume 5 (of 5) of the Raven Edition
Author: Edgar Allan Poe
Release Date: May 19, 2008 [EBook #2151]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF EDGAR ALLAN POE ***
Produced by David Widger
THE WORKS OF EDGAR ALLAN POE
IN FIVE VOLUMES
The Raven Edition
CONTENTS:
Philosophy of Furniture
A Tale of Jerusalem
The Sphinx
Hop Frog
The Man of the Crowd
Never Bet the Devill Your Head
Thou Art the Man
Why the Little Frenchman Wears his Hand in a Sling
Bon-Bon
Some words with a Mummy
The Poetic Principle
Old English Poetry
POEMS:
Dedication
Preface
Poems of Later Life
The Raven
The Bells
Ulalume
To Helen
Annabel Lee
A Valentine
An Enigma
To my Mother
For Annie
To F---- To Frances S. Osgood
Eldorado
Eulalie
A Dream within a Dream
To Marie Louise (Shew)
To the Same
The City in the Sea
The Sleeper
Bridal Ballad
Notes
Poems of Manhood
Lenore
To One in Paradise
The Coliseum
The Haunted Palace
The Conqueror Worm
Silence
Dreamland
Hymn
To Zante
Scenes from "Politian"
Note
Poems of Youth
Introduction (1831)
Sonnet--To Science
Al Aaraaf
Tamerlane
To Helen
The Valley of Unrest
Israfel
To -- ("The Bowers Whereat, in Dreams I See")
To -- ("I Heed not That my Earthly Lot")
To the River -- Song
A Dream
Romance
Fairyland
The Lake To-- "The Happiest Day"
Imitation
Hymn. Translation from the Greek
"In Youth I Have Known One"
A Paean
Notes
Doubtful Poems
Alone
To Isadore
The Village Street
The Forest Reverie
Notes
PHILOSOPHY OF FURNITURE.
In the internal decoration, if not in the external architecture of
their residences, the English are supreme. The Italians have but little
sentiment beyond marbles and colours. In France, _meliora probant,
deteriora _sequuntur--the people are too much a race of gadabouts to
maintain those household proprieties of which, indeed, they have a
delicate appreciation, or at least the elements of a proper sense. The
Chinese and most of the eastern races have a warm but inappropriate
fancy. The Scotch are _poor _decorists. The Dutch have, perhaps, an
indeterminate idea that a curtain is not a cabbage. In Spain they are
_all _curtains--a nation of hangmen. The Russians do not furnish. The
Hottentots and Kickapoos are very well in their way. The Yankees alone
are preposterous.
How this happens, it is not difficult to see. We have no aristocracy of
blood, and having therefore as a natural, and indeed as an inevitable
thing, fashioned for ourselves an aristocracy of dollars, the _display
of wealth _has here to take the place and perform the office of the
heraldic display in monarchical countries. By a transition readily
understood, and which might have been as readily foreseen, we have been
brought to merge in simple _show_ our notions of taste itself.
To speak less abstractly. In England, for example, no mere parade
of costly appurtenances would be so likely as with us, to create
an impression of the beautiful in respect to the appurtenances
themselves--or of taste as regards the proprietor:--this for the reason,
first, that wealth is not, in England, the loftiest object of ambition
as constituting a nobility; and secondly, that there, the true nobility
of blood, confining itself within the strict limits of legitimate taste,
rather avoids than affects that mere costliness in which a _parvenu
_rivalry may at any time be successfully attempted.
The people _will _imitate the nobles, and the result is a thorough
diffusion of the proper feeling. But in America, the coins current being
the sole arms of the aristocracy, their display may be said, in general,
to be the sole means of the aristocratic distinction; and the populace,
looking always upward for models, are insensibly led to confound the two
entirely separate ideas of magnificence and beauty. In short, the cost
of an article of furniture has at length come to be, with us, nearly
the sole test of its merit in a decorative point of view--and this test,
once established, has led the way to many analogous errors, readily
traceable to the one primitive folly.
There could be nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment. Its most usual defect
is a want of keeping. We speak of the keeping of a room as we would of
the keeping of a picture--for both the picture and the room are amenable
to those undeviating principles which regulate all varieties of art; and
very nearly the same laws by which we decide on the higher merits of a
painting, suffice for decision on the adjustment of a chamber.
A want of keeping is observable sometimes in the character of the
several pieces of furniture, but generally in their colours or modes of
adaptation to use _Very _often the eye is offended by their inartistic
arrangement. Straight lines are too prevalent--too uninterruptedly
continued--or clumsily interrupted at right angles. If curved lines
occur, they are repeated into unpleasant uniformity. By undue precision,
the appearance of many a fine apartment is utterly spoiled.
Curtains are rarely well disposed, or well chosen in respect to other
decorations. With formal furniture, curtains are out of place; and an
extensive volume of drapery of any kind is, under any circumstance,
irreconcilable with good taste--the proper quantum, as well as the
proper adjustment, depending upon the character of the general effect.
Carpets are better understood of late than of ancient days, but we
still very frequently err in their patterns and colours. The soul of the
apartment is the carpet. From it are deduced not only the hues but the
forms of all objects incumbent. A judge at common law may be an ordinary
man; a good judge of a carpet _must be _a genius. Yet we have heard
discoursing of carpets, with the air "_d'un mouton qui reve," _fellows
who should not and who could not be entrusted with the management of
their own _moustaches. _Every one knows that a large floor _may _have a
covering of large figures, and that a small one must have a covering
of small--yet this is not all the knowledge in the world. As
regards texture, the Saxony is alone admissible. Brussels is the
preterpluperfect tense of fashion, and Turkey is taste in its dying
agonies. Touching pattern--a carpet should _not _be bedizzened out like
a Riccaree Indian--all red chalk, yellow ochre, and cock's feathers. In
brief--distinct grounds, and vivid circular or cycloid figures, _of
no meaning, _are here Median laws. The abomination of flowers, or
representations of well-known objects of any kind, should not be
endured within the limits of Christendom. Indeed, whether on carpets,
or curtains, or tapestry, or ottoman coverings, all upholstery of this
nature should be rigidly Arabesque. As for those antique floor-cloth &
still occasionally seen in the dwellings of the rabble--cloths of huge,
sprawling, and radiating devises, stripe-interspersed, and glorious
with all hues, among which no ground is intelligible--these are but the
wicked invention of a race of time-servers and money-lovers--children
of Baal and worshippers of Mammon--Benthams, who, to spare thought
and economize fancy, first cruelly invented the Kaleidoscope, and then
established joint-stock companies to twirl it by steam.
_Glare_ is a leading error in the philosophy of American household
decoration--an error easily recognised as deduced from the perversion of
taste just specified. , We are violently enamoured of gas and of glass.
The former is totally inadmissible within doors. Its harsh and unsteady
light offends. No one having both brains and eyes will use it. A mild,
or what artists term a cool light, with its consequent warm shadows,
will do wonders for even an ill-furnished apartment. Never was a more
lovely thought than that of the astral lamp. We mean, of course,
the astral lamp proper--the lamp of Argand, with its original plain
ground-glass shade, and its tempered and uniform moonlight rays. The
cut-glass shade is a weak invention of the enemy. The eagerness with
which we have adopted it, partly on account of its _flashiness,_ but
principally on account of its _greater rest,_ is a good commentary on
the proposition with which we began. It is not too much to say, that the
deliberate employer of a cut-glass shade, is either radically deficient
in taste, or blindly subservient to the caprices of fashion. The light
proceeding from one of these gaudy abominations is unequal broken, and
painful. It alone is sufficient to mar a world of good effect in the
furniture subjected to its influence. Female loveliness, in especial, is
more than one-half disenchanted beneath its evil eye.
In the matter of glass, generally, we proceed upon false principles. Its
leading feature is _glitter--_and in that one word how much of all that
is detestable do we express! Flickering, unquiet lights, are _sometimes
_pleasing--to children and idiots always so--but in the embellishment
of a room they should be scrupulously avoided. In truth, even strong
_steady _lights are inadmissible. The huge and unmeaning glass
chandeliers, prism-cut, gas-lighted, and without shade, which dangle in
our most fashionable drawing-rooms, may be cited as the quintessence of
all that is false in taste or preposterous in folly.
The rage for _glitter-_because its idea has become as we before
observed, confounded with that of magnificence in the abstract--has
led us, also, to the exaggerated employment of mirrors. We line our
dwellings with great British plates, and then imagine we have done a
fine thing. Now the slightest thought will be sufficient to convince
any one who has an eye at all, of the ill effect of numerous
looking-glasses, and especially of large ones. Regarded apart from
its reflection, the mirror presents a continuous, flat, colourless,
unrelieved surface,--a thing always and obviously unpleasant. Considered
as a reflector, it is potent in producing a monstrous and odious
uniformity: and the evil is here aggravated, not in merely direct
proportion with the augmentation of its sources, but in a ratio
constantly increasing. In fact, a room with four or five mirrors
arranged at random, is, for all purposes of artistic show, a room of
no shape at all. If we add to this evil, the attendant glitter upon
glitter, we have a perfect farrago of discordant and displeasing
effects. The veriest bumpkin, on entering an apartment so bedizzened,
would be instantly aware of something wrong, although he might be
altogether unable to assign a cause for his dissatisfaction. But let
the same person be led into a room tastefully furnished, and he would be
startled into an exclamation of pleasure and surprise.
It is an evil growing out of our republican institutions, that here a
man of large purse has usually a very little soul which he keeps in
it. The corruption of taste is a portion or a pendant of the
dollar-manufacture. As we grow rich, our ideas grow rusty. It is,
therefore, not among _our _aristocracy that we must look (if at all, in
Appallachia), for the spirituality of a British _boudoir. _But we have
seen apartments in the tenure of Americans of moderns [possibly "modest"
or "moderate"] means, which, in negative merit at least, might vie with
any of the _or-molu'd _cabinets of our friends across the water. Even
_now_, there is present to our mind's eye a small and not, ostentatious
chamber with whose decorations no fault can be found. The proprietor
lies asleep on a sofa--the weather is cool--the time is near midnight:
we will make a sketch of the room during his slumber.
It is oblong--some thirty feet in length and twenty-five in breadth--a
shape affording the best(ordinary) opportunities for the adjustment of
furniture. It has but one door--by no means a wide one--which is at one
end of the parallelogram, and but two windows, which are at the
other. These latter are large, reaching down to the floor--have deep
recesses--and open on an Italian _veranda. _Their panes are of a
crimson-tinted glass, set in rose-wood framings, more massive than
usual. They are curtained within the recess, by a thick silver tissue
adapted to the shape of the window, and hanging loosely in small
volumes. Without the recess are curtains of an exceedingly rich crimson
silk, fringed with a deep network of gold, and lined with silver tissue,
which is the material of the exterior blind. There are no cornices; but
the folds of the whole fabric (which are sharp rather than massive, and
have an airy appearance), issue from beneath a broad entablature of rich
giltwork, which encircles the room at the junction of the ceiling and
walls. The drapery is thrown open also, or closed, by means of a thick
rope of gold loosely enveloping it, and resolving itself readily into
a knot; no pins or other such devices are apparent. The colours of
the curtains and their fringe--the tints of crimson and gold--appear
everywhere in profusion, and determine the _character _of the room. The
carpet--of Saxony material--is quite half an inch thick, and is of the
same crimson ground, relieved simply by the appearance of a gold cord
(like that festooning the curtains) slightly relieved above the surface
of the _ground, _and thrown upon it in such a manner as to form a
succession of short irregular curves--one occasionally overlaying the
other. The walls are prepared with a glossy paper of a silver gray tint,
spotted with small Arabesque devices of a fainter hue of the prevalent
crimson. Many paintings relieve the expanse of paper. These are chiefly
landscapes of an imaginative cast--such as the fairy grottoes of
Stanfield, or the lake of the Dismal Swamp of Chapman. There
are, nevertheless, three or four female heads, of an ethereal
beauty-portraits in the manner of Sully. The tone of each picture is
warm, but dark. There are no "brilliant effects. " _Repose _speaks in
all. Not one is of small size. Diminutive paintings give that _spotty
_look to a room, which is the blemish of so many a fine work of Art
overtouched. The frames are broad but not deep, and richly carved,
without being _dulled _or filagreed. They have the whole lustre of
burnished gold. They lie flat on the walls, and do not hang off with
cords. The designs themselves are often seen to better advantage in this
latter position, but the general appearance of the chamber is injured.
But one mirror--and this not a very large one--is visible. In shape it
is nearly circular--and it is hung so that a reflection of the person
can be obtained from it in none of the ordinary sitting-places of the
room. Two large low sofas of rosewood and crimson silk, gold-flowered,
form the only seats, with the exception of two light conversation
chairs, also of rose-wood. There is a pianoforte (rose-wood, also),
without cover, and thrown open. An octagonal table, formed altogether of
the richest gold-threaded marble, is placed near one of the sofas. This
is also without cover--the drapery of the curtains has been thought
sufficient. . Four large and gorgeous Sevres vases, in which bloom a
profusion of sweet and vivid flowers, occupy the slightly rounded angles
of the room. A tall candelabrum, bearing a small antique lamp with
highly perfumed oil, is standing near the head of my sleeping friend.
Some light and graceful hanging shelves, with golden edges and crimson
silk cords with gold tassels, sustain two or three hundred magnificently
bound books. Beyond these things, there is no furniture, if we except
an Argand lamp, with a plain crimson-tinted ground glass shade, which
depends from He lofty vaulted ceiling by a single slender gold chain,
and throws a tranquil but magical radiance over all.
A TALE OF JERUSALEM
Intensos rigidarn in frontern ascendere canos
Passus erat----
--Lucan--De Catone
----a bristly bore.
"LET us hurry to the walls," said Abel-Phittim to Buzi-Ben-Levi and
Simeon the Pharisee, on the tenth day of the month Thammuz, in the year
of the world three thousand nine hundred and forty-one--let us hasten
to the ramparts adjoining the gate of Benjamin, which is in the city of
David, and overlooking the camp of the uncircumcised; for it is the
last hour of the fourth watch, being sunrise; and the idolaters, in
fulfilment of the promise of Pompey, should be awaiting us with the
lambs for the sacrifices. "
Simeon, Abel-Phittim, and Duzi-Ben-Levi were the Gizbarim, or
sub-collectors of the offering, in the holy city of Jerusalem.
"Verily," replied the Pharisee; "let us hasten: for this generosity
in the heathen is unwonted; and fickle-mindedness has ever been an
attribute of the worshippers of Baal. "
"'That they are fickle-minded and treacherous is as true as the
Pentateuch," said Buzi-Ben-Levi, "but that is only toward the people
of Adonai. When was it ever known that the Ammonites proved wanting to
their own interests? Methinks it is no great stretch of generosity to
allow us lambs for the altar of the Lord, receiving in lieu thereof
thirty silver shekels per head! "
"Thou forgettest, however, Ben-Levi," replied Abel-Phittim, "that the
Roman Pompey, who is now impiously besieging the city of the Most High,
has no assurity that we apply not the lambs thus purchased for the
altar, to the sustenance of the body, rather than of the spirit. "
"Now, by the five corners of my beard! " shouted the Pharisee, who
belonged to the sect called The Dashers (that little knot of saints
whose manner of _dashing _and lacerating the feet against the
pavement was long a thorn and a reproach to less zealous devotees-a
stumbling-block to less gifted perambulators)--"by the five corners of
that beard which, as a priest, I am forbidden to shave! -have we lived
to see the day when a blaspheming and idolatrous upstart of Rome shall
accuse us of appropriating to the appetites of the flesh the most holy
and consecrated elements? Have we lived to see the day when--"'
"Let us not question the motives of the Philistine," interrupted
Abel-Phittim' "for to-day we profit for the first time by his avarice
or by his generosity; but rather let us hurry to the ramparts, lest
offerings should be wanting for that altar whose fire the rains of
heaven can not extinguish, and whose pillars of smoke no tempest can
turn aside. "
That part of the city to which our worthy Gizbarim now hastened, and
which bore the name of its architect, King David, was esteemed the most
strongly fortified district of Jerusalem; being situated upon the steep
and lofty hill of Zion. Here, a broad, deep, circumvallatory trench,
hewn from the solid rock, was defended by a wall of great strength
erected upon its inner edge. This wall was adorned, at regular
interspaces, by square towers of white marble; the lowest sixty, and the
highest one hundred and twenty cubits in height. But, in the vicinity of
the gate of Benjamin, the wall arose by no means from the margin of the
fosse. On the contrary, between the level of the ditch and the basement
of the rampart sprang up a perpendicular cliff of two hundred and fifty
cubits, forming part of the precipitous Mount Moriah. So that when
Simeon and his associates arrived on the summit of the tower called
Adoni-Bezek-the loftiest of all the turrets around about Jerusalem, and
the usual place of conference with the besieging army-they looked down
upon the camp of the enemy from an eminence excelling by many feet that
of the Pyramid of Cheops, and, by several, that of the temple of Belus.
"Verily," sighed the Pharisee, as he peered dizzily over the precipice,
"the uncircumcised are as the sands by the seashore-as the locusts
in the wilderness! The valley of the King hath become the valley of
Adommin. "
"And yet," added Ben-Levi, "thou canst not point me out a Philistine-no,
not one-from Aleph to Tau-from the wilderness to the battlements--who
seemeth any bigger than the letter Jod! "
"Lower away the basket with the shekels of silver! " here shouted a
Roman soldier in a hoarse, rough voice, which appeared to issue from the
regions of Pluto--"lower away the basket with the accursed coin which it
has broken the jaw of a noble Roman to pronounce! Is it thus you evince
your gratitude to our master Pompeius, who, in his condescension, has
thought fit to listen to your idolatrous importunities? The god Phoebus,
who is a true god, has been charioted for an hour-and were you not to
be on the ramparts by sunrise? Aedepol! do you think that we, the
conquerors of the world, have nothing better to do than stand waiting by
the walls of every kennel, to traffic with the dogs of the earth? Lower
away! I say--and see that your trumpery be bright in color and just in
weight! "
"El Elohim! " ejaculated the Pharisee, as the discordant tones of the
centurion rattled up the crags of the precipice, and fainted away
against the temple--"El Elohim! --who is the god Phoebus? --whom doth the
blasphemer invoke? Thou, Buzi-Ben-Levi! who art read in the laws of
the Gentiles, and hast sojourned among them who dabble with the
Teraphim! --is it Nergal of whom the idolater speaketh? ---or
Ashimah? --or Nibhaz,--or Tartak? --or Adramalech? --or Anamalech? --or
Succoth-Benith? --or Dagon? --or Belial? --or Baal-Perith? --or
Baal-Peor? --or Baal-Zebub? "
"Verily it is neither-but beware how thou lettest the rope slip too
rapidly through thy fingers; for should the wicker-work chance to hang
on the projection of Yonder crag, there will be a woful outpouring of
the holy things of the sanctuary. "
By the assistance of some rudely constructed machinery, the heavily
laden basket was now carefully lowered down among the multitude; and,
from the giddy pinnacle, the Romans were seen gathering confusedly
round it; but owing to the vast height and the prevalence of a fog, no
distinct view of their operations could be obtained.
Half an hour had already elapsed.
"We shall be too late! " sighed the Pharisee, as at the expiration of
this period he looked over into the abyss-"we shall be too late! we
shall be turned out of office by the Katholim. "
"No more," responded Abel-Phittim---"no more shall we feast upon the fat
of the land-no longer shall our beards be odorous with frankincense--our
loins girded up with fine linen from the Temple. "
"Racal" swore Ben-Levi, "Racal do they mean to defraud us of the
purchase money? or, Holy Moses! are they weighing the shekels of the
tabernacle? "
"They have given the signal at last! " cried the Pharisee-----"they
have given the signal at last! pull away, Abel-Phittim! --and thou,
Buzi-Ben-Levi, pull away! --for verily the Philistines have either still
hold upon the basket, or the Lord hath softened their hearts to place
therein a beast of good weight! " And the Gizbarim pulled away, while
their burden swung heavily upward through the still increasing mist.
"Booshoh he! "--as, at the conclusion of an hour, some object at the
extremity of the rope became indistinctly visible--"Booshoh he! " was the
exclamation which burst from the lips of Ben-Levi.
*****
"Booshoh he! --for shame! --it is a ram from the thickets of Engedi, and as
rugged as the valley of jehosaphat! "
"It is a firstling of the flock," said Abel-Phittim, "I know him by the
bleating of his lips, and the innocent folding of his limbs. His eyes
are more beautiful than the jewels of the Pectoral, and his flesh is
like the honey of Hebron. "
"It is a fatted calf from the pastures of Bashan," said the Pharisee,
"the heathen have dealt wonderfully with us----let us raise up
our voices in a psalm--let us give thanks on the shawm and on the
psaltery-on the harp and on the huggab-on the cythern and on the
sackbut! "
It was not until the basket had arrived within a few feet of the
Gizbarim that a low grunt betrayed to their perception a hog of no
common size.
"Now El Emanu! " slowly and with upturned eyes ejaculated the trio, as,
letting go their hold, the emancipated porker tumbled headlong among the
Philistines, "El Emanu! -God be with us--it is _the unutterable flesh! "_
THE SPHINX
DURING the dread reign of the Cholera in New York, I had accepted the
invitation of a relative to spend a fortnight with him in the retirement
of his _cottage ornee_ on the banks of the Hudson. We had here around
us all the ordinary means of summer amusement; and what with rambling
in the woods, sketching, boating, fishing, bathing, music, and books,
we should have passed the time pleasantly enough, but for the fearful
intelligence which reached us every morning from the populous city.
Not a day elapsed which did not bring us news of the decease of some
acquaintance. Then as the fatality increased, we learned to expect daily
the loss of some friend. At length we trembled at the approach of every
messenger. The very air from the South seemed to us redolent with death.
That palsying thought, indeed, took entire possession of my soul. I
could neither speak, think, nor dream of any thing else. My host was
of a less excitable temperament, and, although greatly depressed in
spirits, exerted himself to sustain my own.
There could be nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment. Its most usual defect
is a want of keeping. We speak of the keeping of a room as we would of
the keeping of a picture--for both the picture and the room are amenable
to those undeviating principles which regulate all varieties of art; and
very nearly the same laws by which we decide on the higher merits of a
painting, suffice for decision on the adjustment of a chamber.
A want of keeping is observable sometimes in the character of the
several pieces of furniture, but generally in their colours or modes of
adaptation to use _Very _often the eye is offended by their inartistic
arrangement. Straight lines are too prevalent--too uninterruptedly
continued--or clumsily interrupted at right angles. If curved lines
occur, they are repeated into unpleasant uniformity. By undue precision,
the appearance of many a fine apartment is utterly spoiled.
Curtains are rarely well disposed, or well chosen in respect to other
decorations. With formal furniture, curtains are out of place; and an
extensive volume of drapery of any kind is, under any circumstance,
irreconcilable with good taste--the proper quantum, as well as the
proper adjustment, depending upon the character of the general effect.
Carpets are better understood of late than of ancient days, but we
still very frequently err in their patterns and colours. The soul of the
apartment is the carpet. From it are deduced not only the hues but the
forms of all objects incumbent. A judge at common law may be an ordinary
man; a good judge of a carpet _must be _a genius. Yet we have heard
discoursing of carpets, with the air "_d'un mouton qui reve," _fellows
who should not and who could not be entrusted with the management of
their own _moustaches. _Every one knows that a large floor _may _have a
covering of large figures, and that a small one must have a covering
of small--yet this is not all the knowledge in the world. As
regards texture, the Saxony is alone admissible. Brussels is the
preterpluperfect tense of fashion, and Turkey is taste in its dying
agonies. Touching pattern--a carpet should _not _be bedizzened out like
a Riccaree Indian--all red chalk, yellow ochre, and cock's feathers. In
brief--distinct grounds, and vivid circular or cycloid figures, _of
no meaning, _are here Median laws. The abomination of flowers, or
representations of well-known objects of any kind, should not be
endured within the limits of Christendom. Indeed, whether on carpets,
or curtains, or tapestry, or ottoman coverings, all upholstery of this
nature should be rigidly Arabesque. As for those antique floor-cloth &
still occasionally seen in the dwellings of the rabble--cloths of huge,
sprawling, and radiating devises, stripe-interspersed, and glorious
with all hues, among which no ground is intelligible--these are but the
wicked invention of a race of time-servers and money-lovers--children
of Baal and worshippers of Mammon--Benthams, who, to spare thought
and economize fancy, first cruelly invented the Kaleidoscope, and then
established joint-stock companies to twirl it by steam.
_Glare_ is a leading error in the philosophy of American household
decoration--an error easily recognised as deduced from the perversion of
taste just specified. , We are violently enamoured of gas and of glass.
The former is totally inadmissible within doors. Its harsh and unsteady
light offends. No one having both brains and eyes will use it. A mild,
or what artists term a cool light, with its consequent warm shadows,
will do wonders for even an ill-furnished apartment. Never was a more
lovely thought than that of the astral lamp. We mean, of course,
the astral lamp proper--the lamp of Argand, with its original plain
ground-glass shade, and its tempered and uniform moonlight rays. The
cut-glass shade is a weak invention of the enemy. The eagerness with
which we have adopted it, partly on account of its _flashiness,_ but
principally on account of its _greater rest,_ is a good commentary on
the proposition with which we began. It is not too much to say, that the
deliberate employer of a cut-glass shade, is either radically deficient
in taste, or blindly subservient to the caprices of fashion. The light
proceeding from one of these gaudy abominations is unequal broken, and
painful. It alone is sufficient to mar a world of good effect in the
furniture subjected to its influence. Female loveliness, in especial, is
more than one-half disenchanted beneath its evil eye.
In the matter of glass, generally, we proceed upon false principles. Its
leading feature is _glitter--_and in that one word how much of all that
is detestable do we express! Flickering, unquiet lights, are _sometimes
_pleasing--to children and idiots always so--but in the embellishment
of a room they should be scrupulously avoided. In truth, even strong
_steady _lights are inadmissible. The huge and unmeaning glass
chandeliers, prism-cut, gas-lighted, and without shade, which dangle in
our most fashionable drawing-rooms, may be cited as the quintessence of
all that is false in taste or preposterous in folly.
The rage for _glitter-_because its idea has become as we before
observed, confounded with that of magnificence in the abstract--has
led us, also, to the exaggerated employment of mirrors. We line our
dwellings with great British plates, and then imagine we have done a
fine thing. Now the slightest thought will be sufficient to convince
any one who has an eye at all, of the ill effect of numerous
looking-glasses, and especially of large ones. Regarded apart from
its reflection, the mirror presents a continuous, flat, colourless,
unrelieved surface,--a thing always and obviously unpleasant. Considered
as a reflector, it is potent in producing a monstrous and odious
uniformity: and the evil is here aggravated, not in merely direct
proportion with the augmentation of its sources, but in a ratio
constantly increasing. In fact, a room with four or five mirrors
arranged at random, is, for all purposes of artistic show, a room of
no shape at all. If we add to this evil, the attendant glitter upon
glitter, we have a perfect farrago of discordant and displeasing
effects. The veriest bumpkin, on entering an apartment so bedizzened,
would be instantly aware of something wrong, although he might be
altogether unable to assign a cause for his dissatisfaction. But let
the same person be led into a room tastefully furnished, and he would be
startled into an exclamation of pleasure and surprise.
It is an evil growing out of our republican institutions, that here a
man of large purse has usually a very little soul which he keeps in
it. The corruption of taste is a portion or a pendant of the
dollar-manufacture. As we grow rich, our ideas grow rusty. It is,
therefore, not among _our _aristocracy that we must look (if at all, in
Appallachia), for the spirituality of a British _boudoir. _But we have
seen apartments in the tenure of Americans of moderns [possibly "modest"
or "moderate"] means, which, in negative merit at least, might vie with
any of the _or-molu'd _cabinets of our friends across the water. Even
_now_, there is present to our mind's eye a small and not, ostentatious
chamber with whose decorations no fault can be found. The proprietor
lies asleep on a sofa--the weather is cool--the time is near midnight:
we will make a sketch of the room during his slumber.
It is oblong--some thirty feet in length and twenty-five in breadth--a
shape affording the best(ordinary) opportunities for the adjustment of
furniture. It has but one door--by no means a wide one--which is at one
end of the parallelogram, and but two windows, which are at the
other. These latter are large, reaching down to the floor--have deep
recesses--and open on an Italian _veranda. _Their panes are of a
crimson-tinted glass, set in rose-wood framings, more massive than
usual. They are curtained within the recess, by a thick silver tissue
adapted to the shape of the window, and hanging loosely in small
volumes. Without the recess are curtains of an exceedingly rich crimson
silk, fringed with a deep network of gold, and lined with silver tissue,
which is the material of the exterior blind. There are no cornices; but
the folds of the whole fabric (which are sharp rather than massive, and
have an airy appearance), issue from beneath a broad entablature of rich
giltwork, which encircles the room at the junction of the ceiling and
walls. The drapery is thrown open also, or closed, by means of a thick
rope of gold loosely enveloping it, and resolving itself readily into
a knot; no pins or other such devices are apparent. The colours of
the curtains and their fringe--the tints of crimson and gold--appear
everywhere in profusion, and determine the _character _of the room. The
carpet--of Saxony material--is quite half an inch thick, and is of the
same crimson ground, relieved simply by the appearance of a gold cord
(like that festooning the curtains) slightly relieved above the surface
of the _ground, _and thrown upon it in such a manner as to form a
succession of short irregular curves--one occasionally overlaying the
other. The walls are prepared with a glossy paper of a silver gray tint,
spotted with small Arabesque devices of a fainter hue of the prevalent
crimson. Many paintings relieve the expanse of paper. These are chiefly
landscapes of an imaginative cast--such as the fairy grottoes of
Stanfield, or the lake of the Dismal Swamp of Chapman. There
are, nevertheless, three or four female heads, of an ethereal
beauty-portraits in the manner of Sully. The tone of each picture is
warm, but dark. There are no "brilliant effects. " _Repose _speaks in
all. Not one is of small size. Diminutive paintings give that _spotty
_look to a room, which is the blemish of so many a fine work of Art
overtouched. The frames are broad but not deep, and richly carved,
without being _dulled _or filagreed. They have the whole lustre of
burnished gold. They lie flat on the walls, and do not hang off with
cords. The designs themselves are often seen to better advantage in this
latter position, but the general appearance of the chamber is injured.
But one mirror--and this not a very large one--is visible. In shape it
is nearly circular--and it is hung so that a reflection of the person
can be obtained from it in none of the ordinary sitting-places of the
room. Two large low sofas of rosewood and crimson silk, gold-flowered,
form the only seats, with the exception of two light conversation
chairs, also of rose-wood. There is a pianoforte (rose-wood, also),
without cover, and thrown open. An octagonal table, formed altogether of
the richest gold-threaded marble, is placed near one of the sofas. This
is also without cover--the drapery of the curtains has been thought
sufficient. . Four large and gorgeous Sevres vases, in which bloom a
profusion of sweet and vivid flowers, occupy the slightly rounded angles
of the room. A tall candelabrum, bearing a small antique lamp with
highly perfumed oil, is standing near the head of my sleeping friend.
Some light and graceful hanging shelves, with golden edges and crimson
silk cords with gold tassels, sustain two or three hundred magnificently
bound books. Beyond these things, there is no furniture, if we except
an Argand lamp, with a plain crimson-tinted ground glass shade, which
depends from He lofty vaulted ceiling by a single slender gold chain,
and throws a tranquil but magical radiance over all.
A TALE OF JERUSALEM
Intensos rigidarn in frontern ascendere canos
Passus erat----
--Lucan--De Catone
----a bristly bore.
"LET us hurry to the walls," said Abel-Phittim to Buzi-Ben-Levi and
Simeon the Pharisee, on the tenth day of the month Thammuz, in the year
of the world three thousand nine hundred and forty-one--let us hasten
to the ramparts adjoining the gate of Benjamin, which is in the city of
David, and overlooking the camp of the uncircumcised; for it is the
last hour of the fourth watch, being sunrise; and the idolaters, in
fulfilment of the promise of Pompey, should be awaiting us with the
lambs for the sacrifices. "
Simeon, Abel-Phittim, and Duzi-Ben-Levi were the Gizbarim, or
sub-collectors of the offering, in the holy city of Jerusalem.
"Verily," replied the Pharisee; "let us hasten: for this generosity
in the heathen is unwonted; and fickle-mindedness has ever been an
attribute of the worshippers of Baal. "
"'That they are fickle-minded and treacherous is as true as the
Pentateuch," said Buzi-Ben-Levi, "but that is only toward the people
of Adonai. When was it ever known that the Ammonites proved wanting to
their own interests? Methinks it is no great stretch of generosity to
allow us lambs for the altar of the Lord, receiving in lieu thereof
thirty silver shekels per head! "
"Thou forgettest, however, Ben-Levi," replied Abel-Phittim, "that the
Roman Pompey, who is now impiously besieging the city of the Most High,
has no assurity that we apply not the lambs thus purchased for the
altar, to the sustenance of the body, rather than of the spirit. "
"Now, by the five corners of my beard! " shouted the Pharisee, who
belonged to the sect called The Dashers (that little knot of saints
whose manner of _dashing _and lacerating the feet against the
pavement was long a thorn and a reproach to less zealous devotees-a
stumbling-block to less gifted perambulators)--"by the five corners of
that beard which, as a priest, I am forbidden to shave! -have we lived
to see the day when a blaspheming and idolatrous upstart of Rome shall
accuse us of appropriating to the appetites of the flesh the most holy
and consecrated elements? Have we lived to see the day when--"'
"Let us not question the motives of the Philistine," interrupted
Abel-Phittim' "for to-day we profit for the first time by his avarice
or by his generosity; but rather let us hurry to the ramparts, lest
offerings should be wanting for that altar whose fire the rains of
heaven can not extinguish, and whose pillars of smoke no tempest can
turn aside. "
That part of the city to which our worthy Gizbarim now hastened, and
which bore the name of its architect, King David, was esteemed the most
strongly fortified district of Jerusalem; being situated upon the steep
and lofty hill of Zion. Here, a broad, deep, circumvallatory trench,
hewn from the solid rock, was defended by a wall of great strength
erected upon its inner edge. This wall was adorned, at regular
interspaces, by square towers of white marble; the lowest sixty, and the
highest one hundred and twenty cubits in height. But, in the vicinity of
the gate of Benjamin, the wall arose by no means from the margin of the
fosse. On the contrary, between the level of the ditch and the basement
of the rampart sprang up a perpendicular cliff of two hundred and fifty
cubits, forming part of the precipitous Mount Moriah. So that when
Simeon and his associates arrived on the summit of the tower called
Adoni-Bezek-the loftiest of all the turrets around about Jerusalem, and
the usual place of conference with the besieging army-they looked down
upon the camp of the enemy from an eminence excelling by many feet that
of the Pyramid of Cheops, and, by several, that of the temple of Belus.
"Verily," sighed the Pharisee, as he peered dizzily over the precipice,
"the uncircumcised are as the sands by the seashore-as the locusts
in the wilderness! The valley of the King hath become the valley of
Adommin. "
"And yet," added Ben-Levi, "thou canst not point me out a Philistine-no,
not one-from Aleph to Tau-from the wilderness to the battlements--who
seemeth any bigger than the letter Jod! "
"Lower away the basket with the shekels of silver! " here shouted a
Roman soldier in a hoarse, rough voice, which appeared to issue from the
regions of Pluto--"lower away the basket with the accursed coin which it
has broken the jaw of a noble Roman to pronounce! Is it thus you evince
your gratitude to our master Pompeius, who, in his condescension, has
thought fit to listen to your idolatrous importunities? The god Phoebus,
who is a true god, has been charioted for an hour-and were you not to
be on the ramparts by sunrise? Aedepol! do you think that we, the
conquerors of the world, have nothing better to do than stand waiting by
the walls of every kennel, to traffic with the dogs of the earth? Lower
away! I say--and see that your trumpery be bright in color and just in
weight! "
"El Elohim! " ejaculated the Pharisee, as the discordant tones of the
centurion rattled up the crags of the precipice, and fainted away
against the temple--"El Elohim! --who is the god Phoebus? --whom doth the
blasphemer invoke? Thou, Buzi-Ben-Levi! who art read in the laws of
the Gentiles, and hast sojourned among them who dabble with the
Teraphim! --is it Nergal of whom the idolater speaketh? ---or
Ashimah? --or Nibhaz,--or Tartak? --or Adramalech? --or Anamalech? --or
Succoth-Benith? --or Dagon? --or Belial? --or Baal-Perith? --or
Baal-Peor? --or Baal-Zebub? "
"Verily it is neither-but beware how thou lettest the rope slip too
rapidly through thy fingers; for should the wicker-work chance to hang
on the projection of Yonder crag, there will be a woful outpouring of
the holy things of the sanctuary. "
By the assistance of some rudely constructed machinery, the heavily
laden basket was now carefully lowered down among the multitude; and,
from the giddy pinnacle, the Romans were seen gathering confusedly
round it; but owing to the vast height and the prevalence of a fog, no
distinct view of their operations could be obtained.
Half an hour had already elapsed.
"We shall be too late! " sighed the Pharisee, as at the expiration of
this period he looked over into the abyss-"we shall be too late! we
shall be turned out of office by the Katholim. "
"No more," responded Abel-Phittim---"no more shall we feast upon the fat
of the land-no longer shall our beards be odorous with frankincense--our
loins girded up with fine linen from the Temple. "
"Racal" swore Ben-Levi, "Racal do they mean to defraud us of the
purchase money? or, Holy Moses! are they weighing the shekels of the
tabernacle? "
"They have given the signal at last! " cried the Pharisee-----"they
have given the signal at last! pull away, Abel-Phittim! --and thou,
Buzi-Ben-Levi, pull away! --for verily the Philistines have either still
hold upon the basket, or the Lord hath softened their hearts to place
therein a beast of good weight! " And the Gizbarim pulled away, while
their burden swung heavily upward through the still increasing mist.
"Booshoh he! "--as, at the conclusion of an hour, some object at the
extremity of the rope became indistinctly visible--"Booshoh he! " was the
exclamation which burst from the lips of Ben-Levi.
*****
"Booshoh he! --for shame! --it is a ram from the thickets of Engedi, and as
rugged as the valley of jehosaphat! "
"It is a firstling of the flock," said Abel-Phittim, "I know him by the
bleating of his lips, and the innocent folding of his limbs. His eyes
are more beautiful than the jewels of the Pectoral, and his flesh is
like the honey of Hebron. "
"It is a fatted calf from the pastures of Bashan," said the Pharisee,
"the heathen have dealt wonderfully with us----let us raise up
our voices in a psalm--let us give thanks on the shawm and on the
psaltery-on the harp and on the huggab-on the cythern and on the
sackbut! "
It was not until the basket had arrived within a few feet of the
Gizbarim that a low grunt betrayed to their perception a hog of no
common size.
"Now El Emanu! " slowly and with upturned eyes ejaculated the trio, as,
letting go their hold, the emancipated porker tumbled headlong among the
Philistines, "El Emanu! -God be with us--it is _the unutterable flesh! "_
THE SPHINX
DURING the dread reign of the Cholera in New York, I had accepted the
invitation of a relative to spend a fortnight with him in the retirement
of his _cottage ornee_ on the banks of the Hudson. We had here around
us all the ordinary means of summer amusement; and what with rambling
in the woods, sketching, boating, fishing, bathing, music, and books,
we should have passed the time pleasantly enough, but for the fearful
intelligence which reached us every morning from the populous city.
Not a day elapsed which did not bring us news of the decease of some
acquaintance. Then as the fatality increased, we learned to expect daily
the loss of some friend. At length we trembled at the approach of every
messenger. The very air from the South seemed to us redolent with death.
That palsying thought, indeed, took entire possession of my soul. I
could neither speak, think, nor dream of any thing else. My host was
of a less excitable temperament, and, although greatly depressed in
spirits, exerted himself to sustain my own. His richly philosophical
intellect was not at any time affected by unrealities. To the substances
of terror he was sufficiently alive, but of its shadows he had no
apprehension.
His endeavors to arouse me from the condition of abnormal gloom into
which I had fallen, were frustrated, in great measure, by certain
volumes which I had found in his library. These were of a character to
force into germination whatever seeds of hereditary superstition
lay latent in my bosom. I had been reading these books without his
knowledge, and thus he was often at a loss to account for the forcible
impressions which had been made upon my fancy.
A favorite topic with me was the popular belief in omens--a belief
which, at this one epoch of my life, I was almost seriously disposed
to defend. On this subject we had long and animated discussions--he
maintaining the utter groundlessness of faith in such matters,--I
contending that a popular sentiment arising with absolute spontaneity-
that is to say, without apparent traces of suggestion--had in itself the
unmistakable elements of truth, and was entitled to as much respect
as that intuition which is the idiosyncrasy of the individual man of
genius.
The fact is, that soon after my arrival at the cottage there had
occurred to myself an incident so entirely inexplicable, and which had
in it so much of the portentous character, that I might well have been
excused for regarding it as an omen. It appalled, and at the same time
so confounded and bewildered me, that many days elapsed before I could
make up my mind to communicate the circumstances to my friend.
Near the close of exceedingly warm day, I was sitting, book in hand, at
an open window, commanding, through a long vista of the river banks, a
view of a distant hill, the face of which nearest my position had been
denuded by what is termed a land-slide, of the principal portion of its
trees. My thoughts had been long wandering from the volume before me to
the gloom and desolation of the neighboring city. Uplifting my eyes
from the page, they fell upon the naked face of the bill, and upon an
object--upon some living monster of hideous conformation, which very
rapidly made its way from the summit to the bottom, disappearing finally
in the dense forest below. As this creature first came in sight, I
doubted my own sanity--or at least the evidence of my own eyes; and
many minutes passed before I succeeded in convincing myself that I was
neither mad nor in a dream. Yet when I described the monster (which
I distinctly saw, and calmly surveyed through the whole period of
its progress), my readers, I fear, will feel more difficulty in being
convinced of these points than even I did myself.
Estimating the size of the creature by comparison with the diameter of
the large trees near which it passed--the few giants of the forest which
had escaped the fury of the land-slide--I concluded it to be far larger
than any ship of the line in existence. I say ship of the line, because
the shape of the monster suggested the idea--the hull of one of our
seventy-four might convey a very tolerable conception of the general
outline. The mouth of the animal was situated at the extremity of a
proboscis some sixty or seventy feet in length, and about as thick as
the body of an ordinary elephant. Near the root of this trunk was
an immense quantity of black shaggy hair--more than could have been
supplied by the coats of a score of buffaloes; and projecting from this
hair downwardly and laterally, sprang two gleaming tusks not unlike
those of the wild boar, but of infinitely greater dimensions. Extending
forward, parallel with the proboscis, and on each side of it, was a
gigantic staff, thirty or forty feet in length, formed seemingly of pure
crystal and in shape a perfect prism,--it reflected in the most gorgeous
manner the rays of the declining sun. The trunk was fashioned like a
wedge with the apex to the earth. From it there were outspread two pairs
of wings--each wing nearly one hundred yards in length--one pair being
placed above the other, and all thickly covered with metal scales; each
scale apparently some ten or twelve feet in diameter. I observed that
the upper and lower tiers of wings were connected by a strong chain. But
the chief peculiarity of this horrible thing was the representation of a
Death's Head, which covered nearly the whole surface of its breast, and
which was as accurately traced in glaring white, upon the dark ground of
the body, as if it had been there carefully designed by an artist. While
I regarded the terrific animal, and more especially the appearance
on its breast, with a feeling or horror and awe--with a sentiment of
forthcoming evil, which I found it impossible to quell by any effort of
the reason, I perceived the huge jaws at the extremity of the proboscis
suddenly expand themselves, and from them there proceeded a sound so
loud and so expressive of wo, that it struck upon my nerves like a knell
and as the monster disappeared at the foot of the hill, I fell at once,
fainting, to the floor.
Upon recovering, my first impulse, of course, was to inform my friend
of what I had seen and heard--and I can scarcely explain what feeling of
repugnance it was which, in the end, operated to prevent me.
At length, one evening, some three or four days after the occurrence, we
were sitting together in the room in which I had seen the apparition--I
occupying the same seat at the same window, and he lounging on a sofa
near at hand.
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Title: The Works of Edgar Allan Poe
Volume 5 (of 5) of the Raven Edition
Author: Edgar Allan Poe
Release Date: May 19, 2008 [EBook #2151]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF EDGAR ALLAN POE ***
Produced by David Widger
THE WORKS OF EDGAR ALLAN POE
IN FIVE VOLUMES
The Raven Edition
CONTENTS:
Philosophy of Furniture
A Tale of Jerusalem
The Sphinx
Hop Frog
The Man of the Crowd
Never Bet the Devill Your Head
Thou Art the Man
Why the Little Frenchman Wears his Hand in a Sling
Bon-Bon
Some words with a Mummy
The Poetic Principle
Old English Poetry
POEMS:
Dedication
Preface
Poems of Later Life
The Raven
The Bells
Ulalume
To Helen
Annabel Lee
A Valentine
An Enigma
To my Mother
For Annie
To F---- To Frances S. Osgood
Eldorado
Eulalie
A Dream within a Dream
To Marie Louise (Shew)
To the Same
The City in the Sea
The Sleeper
Bridal Ballad
Notes
Poems of Manhood
Lenore
To One in Paradise
The Coliseum
The Haunted Palace
The Conqueror Worm
Silence
Dreamland
Hymn
To Zante
Scenes from "Politian"
Note
Poems of Youth
Introduction (1831)
Sonnet--To Science
Al Aaraaf
Tamerlane
To Helen
The Valley of Unrest
Israfel
To -- ("The Bowers Whereat, in Dreams I See")
To -- ("I Heed not That my Earthly Lot")
To the River -- Song
A Dream
Romance
Fairyland
The Lake To-- "The Happiest Day"
Imitation
Hymn. Translation from the Greek
"In Youth I Have Known One"
A Paean
Notes
Doubtful Poems
Alone
To Isadore
The Village Street
The Forest Reverie
Notes
PHILOSOPHY OF FURNITURE.
In the internal decoration, if not in the external architecture of
their residences, the English are supreme. The Italians have but little
sentiment beyond marbles and colours. In France, _meliora probant,
deteriora _sequuntur--the people are too much a race of gadabouts to
maintain those household proprieties of which, indeed, they have a
delicate appreciation, or at least the elements of a proper sense. The
Chinese and most of the eastern races have a warm but inappropriate
fancy. The Scotch are _poor _decorists. The Dutch have, perhaps, an
indeterminate idea that a curtain is not a cabbage. In Spain they are
_all _curtains--a nation of hangmen. The Russians do not furnish. The
Hottentots and Kickapoos are very well in their way. The Yankees alone
are preposterous.
How this happens, it is not difficult to see. We have no aristocracy of
blood, and having therefore as a natural, and indeed as an inevitable
thing, fashioned for ourselves an aristocracy of dollars, the _display
of wealth _has here to take the place and perform the office of the
heraldic display in monarchical countries. By a transition readily
understood, and which might have been as readily foreseen, we have been
brought to merge in simple _show_ our notions of taste itself.
To speak less abstractly. In England, for example, no mere parade
of costly appurtenances would be so likely as with us, to create
an impression of the beautiful in respect to the appurtenances
themselves--or of taste as regards the proprietor:--this for the reason,
first, that wealth is not, in England, the loftiest object of ambition
as constituting a nobility; and secondly, that there, the true nobility
of blood, confining itself within the strict limits of legitimate taste,
rather avoids than affects that mere costliness in which a _parvenu
_rivalry may at any time be successfully attempted.
The people _will _imitate the nobles, and the result is a thorough
diffusion of the proper feeling. But in America, the coins current being
the sole arms of the aristocracy, their display may be said, in general,
to be the sole means of the aristocratic distinction; and the populace,
looking always upward for models, are insensibly led to confound the two
entirely separate ideas of magnificence and beauty. In short, the cost
of an article of furniture has at length come to be, with us, nearly
the sole test of its merit in a decorative point of view--and this test,
once established, has led the way to many analogous errors, readily
traceable to the one primitive folly.
There could be nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment. Its most usual defect
is a want of keeping. We speak of the keeping of a room as we would of
the keeping of a picture--for both the picture and the room are amenable
to those undeviating principles which regulate all varieties of art; and
very nearly the same laws by which we decide on the higher merits of a
painting, suffice for decision on the adjustment of a chamber.
A want of keeping is observable sometimes in the character of the
several pieces of furniture, but generally in their colours or modes of
adaptation to use _Very _often the eye is offended by their inartistic
arrangement. Straight lines are too prevalent--too uninterruptedly
continued--or clumsily interrupted at right angles. If curved lines
occur, they are repeated into unpleasant uniformity. By undue precision,
the appearance of many a fine apartment is utterly spoiled.
Curtains are rarely well disposed, or well chosen in respect to other
decorations. With formal furniture, curtains are out of place; and an
extensive volume of drapery of any kind is, under any circumstance,
irreconcilable with good taste--the proper quantum, as well as the
proper adjustment, depending upon the character of the general effect.
Carpets are better understood of late than of ancient days, but we
still very frequently err in their patterns and colours. The soul of the
apartment is the carpet. From it are deduced not only the hues but the
forms of all objects incumbent. A judge at common law may be an ordinary
man; a good judge of a carpet _must be _a genius. Yet we have heard
discoursing of carpets, with the air "_d'un mouton qui reve," _fellows
who should not and who could not be entrusted with the management of
their own _moustaches. _Every one knows that a large floor _may _have a
covering of large figures, and that a small one must have a covering
of small--yet this is not all the knowledge in the world. As
regards texture, the Saxony is alone admissible. Brussels is the
preterpluperfect tense of fashion, and Turkey is taste in its dying
agonies. Touching pattern--a carpet should _not _be bedizzened out like
a Riccaree Indian--all red chalk, yellow ochre, and cock's feathers. In
brief--distinct grounds, and vivid circular or cycloid figures, _of
no meaning, _are here Median laws. The abomination of flowers, or
representations of well-known objects of any kind, should not be
endured within the limits of Christendom. Indeed, whether on carpets,
or curtains, or tapestry, or ottoman coverings, all upholstery of this
nature should be rigidly Arabesque. As for those antique floor-cloth &
still occasionally seen in the dwellings of the rabble--cloths of huge,
sprawling, and radiating devises, stripe-interspersed, and glorious
with all hues, among which no ground is intelligible--these are but the
wicked invention of a race of time-servers and money-lovers--children
of Baal and worshippers of Mammon--Benthams, who, to spare thought
and economize fancy, first cruelly invented the Kaleidoscope, and then
established joint-stock companies to twirl it by steam.
_Glare_ is a leading error in the philosophy of American household
decoration--an error easily recognised as deduced from the perversion of
taste just specified. , We are violently enamoured of gas and of glass.
The former is totally inadmissible within doors. Its harsh and unsteady
light offends. No one having both brains and eyes will use it. A mild,
or what artists term a cool light, with its consequent warm shadows,
will do wonders for even an ill-furnished apartment. Never was a more
lovely thought than that of the astral lamp. We mean, of course,
the astral lamp proper--the lamp of Argand, with its original plain
ground-glass shade, and its tempered and uniform moonlight rays. The
cut-glass shade is a weak invention of the enemy. The eagerness with
which we have adopted it, partly on account of its _flashiness,_ but
principally on account of its _greater rest,_ is a good commentary on
the proposition with which we began. It is not too much to say, that the
deliberate employer of a cut-glass shade, is either radically deficient
in taste, or blindly subservient to the caprices of fashion. The light
proceeding from one of these gaudy abominations is unequal broken, and
painful. It alone is sufficient to mar a world of good effect in the
furniture subjected to its influence. Female loveliness, in especial, is
more than one-half disenchanted beneath its evil eye.
In the matter of glass, generally, we proceed upon false principles. Its
leading feature is _glitter--_and in that one word how much of all that
is detestable do we express! Flickering, unquiet lights, are _sometimes
_pleasing--to children and idiots always so--but in the embellishment
of a room they should be scrupulously avoided. In truth, even strong
_steady _lights are inadmissible. The huge and unmeaning glass
chandeliers, prism-cut, gas-lighted, and without shade, which dangle in
our most fashionable drawing-rooms, may be cited as the quintessence of
all that is false in taste or preposterous in folly.
The rage for _glitter-_because its idea has become as we before
observed, confounded with that of magnificence in the abstract--has
led us, also, to the exaggerated employment of mirrors. We line our
dwellings with great British plates, and then imagine we have done a
fine thing. Now the slightest thought will be sufficient to convince
any one who has an eye at all, of the ill effect of numerous
looking-glasses, and especially of large ones. Regarded apart from
its reflection, the mirror presents a continuous, flat, colourless,
unrelieved surface,--a thing always and obviously unpleasant. Considered
as a reflector, it is potent in producing a monstrous and odious
uniformity: and the evil is here aggravated, not in merely direct
proportion with the augmentation of its sources, but in a ratio
constantly increasing. In fact, a room with four or five mirrors
arranged at random, is, for all purposes of artistic show, a room of
no shape at all. If we add to this evil, the attendant glitter upon
glitter, we have a perfect farrago of discordant and displeasing
effects. The veriest bumpkin, on entering an apartment so bedizzened,
would be instantly aware of something wrong, although he might be
altogether unable to assign a cause for his dissatisfaction. But let
the same person be led into a room tastefully furnished, and he would be
startled into an exclamation of pleasure and surprise.
It is an evil growing out of our republican institutions, that here a
man of large purse has usually a very little soul which he keeps in
it. The corruption of taste is a portion or a pendant of the
dollar-manufacture. As we grow rich, our ideas grow rusty. It is,
therefore, not among _our _aristocracy that we must look (if at all, in
Appallachia), for the spirituality of a British _boudoir. _But we have
seen apartments in the tenure of Americans of moderns [possibly "modest"
or "moderate"] means, which, in negative merit at least, might vie with
any of the _or-molu'd _cabinets of our friends across the water. Even
_now_, there is present to our mind's eye a small and not, ostentatious
chamber with whose decorations no fault can be found. The proprietor
lies asleep on a sofa--the weather is cool--the time is near midnight:
we will make a sketch of the room during his slumber.
It is oblong--some thirty feet in length and twenty-five in breadth--a
shape affording the best(ordinary) opportunities for the adjustment of
furniture. It has but one door--by no means a wide one--which is at one
end of the parallelogram, and but two windows, which are at the
other. These latter are large, reaching down to the floor--have deep
recesses--and open on an Italian _veranda. _Their panes are of a
crimson-tinted glass, set in rose-wood framings, more massive than
usual. They are curtained within the recess, by a thick silver tissue
adapted to the shape of the window, and hanging loosely in small
volumes. Without the recess are curtains of an exceedingly rich crimson
silk, fringed with a deep network of gold, and lined with silver tissue,
which is the material of the exterior blind. There are no cornices; but
the folds of the whole fabric (which are sharp rather than massive, and
have an airy appearance), issue from beneath a broad entablature of rich
giltwork, which encircles the room at the junction of the ceiling and
walls. The drapery is thrown open also, or closed, by means of a thick
rope of gold loosely enveloping it, and resolving itself readily into
a knot; no pins or other such devices are apparent. The colours of
the curtains and their fringe--the tints of crimson and gold--appear
everywhere in profusion, and determine the _character _of the room. The
carpet--of Saxony material--is quite half an inch thick, and is of the
same crimson ground, relieved simply by the appearance of a gold cord
(like that festooning the curtains) slightly relieved above the surface
of the _ground, _and thrown upon it in such a manner as to form a
succession of short irregular curves--one occasionally overlaying the
other. The walls are prepared with a glossy paper of a silver gray tint,
spotted with small Arabesque devices of a fainter hue of the prevalent
crimson. Many paintings relieve the expanse of paper. These are chiefly
landscapes of an imaginative cast--such as the fairy grottoes of
Stanfield, or the lake of the Dismal Swamp of Chapman. There
are, nevertheless, three or four female heads, of an ethereal
beauty-portraits in the manner of Sully. The tone of each picture is
warm, but dark. There are no "brilliant effects. " _Repose _speaks in
all. Not one is of small size. Diminutive paintings give that _spotty
_look to a room, which is the blemish of so many a fine work of Art
overtouched. The frames are broad but not deep, and richly carved,
without being _dulled _or filagreed. They have the whole lustre of
burnished gold. They lie flat on the walls, and do not hang off with
cords. The designs themselves are often seen to better advantage in this
latter position, but the general appearance of the chamber is injured.
But one mirror--and this not a very large one--is visible. In shape it
is nearly circular--and it is hung so that a reflection of the person
can be obtained from it in none of the ordinary sitting-places of the
room. Two large low sofas of rosewood and crimson silk, gold-flowered,
form the only seats, with the exception of two light conversation
chairs, also of rose-wood. There is a pianoforte (rose-wood, also),
without cover, and thrown open. An octagonal table, formed altogether of
the richest gold-threaded marble, is placed near one of the sofas. This
is also without cover--the drapery of the curtains has been thought
sufficient. . Four large and gorgeous Sevres vases, in which bloom a
profusion of sweet and vivid flowers, occupy the slightly rounded angles
of the room. A tall candelabrum, bearing a small antique lamp with
highly perfumed oil, is standing near the head of my sleeping friend.
Some light and graceful hanging shelves, with golden edges and crimson
silk cords with gold tassels, sustain two or three hundred magnificently
bound books. Beyond these things, there is no furniture, if we except
an Argand lamp, with a plain crimson-tinted ground glass shade, which
depends from He lofty vaulted ceiling by a single slender gold chain,
and throws a tranquil but magical radiance over all.
A TALE OF JERUSALEM
Intensos rigidarn in frontern ascendere canos
Passus erat----
--Lucan--De Catone
----a bristly bore.
"LET us hurry to the walls," said Abel-Phittim to Buzi-Ben-Levi and
Simeon the Pharisee, on the tenth day of the month Thammuz, in the year
of the world three thousand nine hundred and forty-one--let us hasten
to the ramparts adjoining the gate of Benjamin, which is in the city of
David, and overlooking the camp of the uncircumcised; for it is the
last hour of the fourth watch, being sunrise; and the idolaters, in
fulfilment of the promise of Pompey, should be awaiting us with the
lambs for the sacrifices. "
Simeon, Abel-Phittim, and Duzi-Ben-Levi were the Gizbarim, or
sub-collectors of the offering, in the holy city of Jerusalem.
"Verily," replied the Pharisee; "let us hasten: for this generosity
in the heathen is unwonted; and fickle-mindedness has ever been an
attribute of the worshippers of Baal. "
"'That they are fickle-minded and treacherous is as true as the
Pentateuch," said Buzi-Ben-Levi, "but that is only toward the people
of Adonai. When was it ever known that the Ammonites proved wanting to
their own interests? Methinks it is no great stretch of generosity to
allow us lambs for the altar of the Lord, receiving in lieu thereof
thirty silver shekels per head! "
"Thou forgettest, however, Ben-Levi," replied Abel-Phittim, "that the
Roman Pompey, who is now impiously besieging the city of the Most High,
has no assurity that we apply not the lambs thus purchased for the
altar, to the sustenance of the body, rather than of the spirit. "
"Now, by the five corners of my beard! " shouted the Pharisee, who
belonged to the sect called The Dashers (that little knot of saints
whose manner of _dashing _and lacerating the feet against the
pavement was long a thorn and a reproach to less zealous devotees-a
stumbling-block to less gifted perambulators)--"by the five corners of
that beard which, as a priest, I am forbidden to shave! -have we lived
to see the day when a blaspheming and idolatrous upstart of Rome shall
accuse us of appropriating to the appetites of the flesh the most holy
and consecrated elements? Have we lived to see the day when--"'
"Let us not question the motives of the Philistine," interrupted
Abel-Phittim' "for to-day we profit for the first time by his avarice
or by his generosity; but rather let us hurry to the ramparts, lest
offerings should be wanting for that altar whose fire the rains of
heaven can not extinguish, and whose pillars of smoke no tempest can
turn aside. "
That part of the city to which our worthy Gizbarim now hastened, and
which bore the name of its architect, King David, was esteemed the most
strongly fortified district of Jerusalem; being situated upon the steep
and lofty hill of Zion. Here, a broad, deep, circumvallatory trench,
hewn from the solid rock, was defended by a wall of great strength
erected upon its inner edge. This wall was adorned, at regular
interspaces, by square towers of white marble; the lowest sixty, and the
highest one hundred and twenty cubits in height. But, in the vicinity of
the gate of Benjamin, the wall arose by no means from the margin of the
fosse. On the contrary, between the level of the ditch and the basement
of the rampart sprang up a perpendicular cliff of two hundred and fifty
cubits, forming part of the precipitous Mount Moriah. So that when
Simeon and his associates arrived on the summit of the tower called
Adoni-Bezek-the loftiest of all the turrets around about Jerusalem, and
the usual place of conference with the besieging army-they looked down
upon the camp of the enemy from an eminence excelling by many feet that
of the Pyramid of Cheops, and, by several, that of the temple of Belus.
"Verily," sighed the Pharisee, as he peered dizzily over the precipice,
"the uncircumcised are as the sands by the seashore-as the locusts
in the wilderness! The valley of the King hath become the valley of
Adommin. "
"And yet," added Ben-Levi, "thou canst not point me out a Philistine-no,
not one-from Aleph to Tau-from the wilderness to the battlements--who
seemeth any bigger than the letter Jod! "
"Lower away the basket with the shekels of silver! " here shouted a
Roman soldier in a hoarse, rough voice, which appeared to issue from the
regions of Pluto--"lower away the basket with the accursed coin which it
has broken the jaw of a noble Roman to pronounce! Is it thus you evince
your gratitude to our master Pompeius, who, in his condescension, has
thought fit to listen to your idolatrous importunities? The god Phoebus,
who is a true god, has been charioted for an hour-and were you not to
be on the ramparts by sunrise? Aedepol! do you think that we, the
conquerors of the world, have nothing better to do than stand waiting by
the walls of every kennel, to traffic with the dogs of the earth? Lower
away! I say--and see that your trumpery be bright in color and just in
weight! "
"El Elohim! " ejaculated the Pharisee, as the discordant tones of the
centurion rattled up the crags of the precipice, and fainted away
against the temple--"El Elohim! --who is the god Phoebus? --whom doth the
blasphemer invoke? Thou, Buzi-Ben-Levi! who art read in the laws of
the Gentiles, and hast sojourned among them who dabble with the
Teraphim! --is it Nergal of whom the idolater speaketh? ---or
Ashimah? --or Nibhaz,--or Tartak? --or Adramalech? --or Anamalech? --or
Succoth-Benith? --or Dagon? --or Belial? --or Baal-Perith? --or
Baal-Peor? --or Baal-Zebub? "
"Verily it is neither-but beware how thou lettest the rope slip too
rapidly through thy fingers; for should the wicker-work chance to hang
on the projection of Yonder crag, there will be a woful outpouring of
the holy things of the sanctuary. "
By the assistance of some rudely constructed machinery, the heavily
laden basket was now carefully lowered down among the multitude; and,
from the giddy pinnacle, the Romans were seen gathering confusedly
round it; but owing to the vast height and the prevalence of a fog, no
distinct view of their operations could be obtained.
Half an hour had already elapsed.
"We shall be too late! " sighed the Pharisee, as at the expiration of
this period he looked over into the abyss-"we shall be too late! we
shall be turned out of office by the Katholim. "
"No more," responded Abel-Phittim---"no more shall we feast upon the fat
of the land-no longer shall our beards be odorous with frankincense--our
loins girded up with fine linen from the Temple. "
"Racal" swore Ben-Levi, "Racal do they mean to defraud us of the
purchase money? or, Holy Moses! are they weighing the shekels of the
tabernacle? "
"They have given the signal at last! " cried the Pharisee-----"they
have given the signal at last! pull away, Abel-Phittim! --and thou,
Buzi-Ben-Levi, pull away! --for verily the Philistines have either still
hold upon the basket, or the Lord hath softened their hearts to place
therein a beast of good weight! " And the Gizbarim pulled away, while
their burden swung heavily upward through the still increasing mist.
"Booshoh he! "--as, at the conclusion of an hour, some object at the
extremity of the rope became indistinctly visible--"Booshoh he! " was the
exclamation which burst from the lips of Ben-Levi.
*****
"Booshoh he! --for shame! --it is a ram from the thickets of Engedi, and as
rugged as the valley of jehosaphat! "
"It is a firstling of the flock," said Abel-Phittim, "I know him by the
bleating of his lips, and the innocent folding of his limbs. His eyes
are more beautiful than the jewels of the Pectoral, and his flesh is
like the honey of Hebron. "
"It is a fatted calf from the pastures of Bashan," said the Pharisee,
"the heathen have dealt wonderfully with us----let us raise up
our voices in a psalm--let us give thanks on the shawm and on the
psaltery-on the harp and on the huggab-on the cythern and on the
sackbut! "
It was not until the basket had arrived within a few feet of the
Gizbarim that a low grunt betrayed to their perception a hog of no
common size.
"Now El Emanu! " slowly and with upturned eyes ejaculated the trio, as,
letting go their hold, the emancipated porker tumbled headlong among the
Philistines, "El Emanu! -God be with us--it is _the unutterable flesh! "_
THE SPHINX
DURING the dread reign of the Cholera in New York, I had accepted the
invitation of a relative to spend a fortnight with him in the retirement
of his _cottage ornee_ on the banks of the Hudson. We had here around
us all the ordinary means of summer amusement; and what with rambling
in the woods, sketching, boating, fishing, bathing, music, and books,
we should have passed the time pleasantly enough, but for the fearful
intelligence which reached us every morning from the populous city.
Not a day elapsed which did not bring us news of the decease of some
acquaintance. Then as the fatality increased, we learned to expect daily
the loss of some friend. At length we trembled at the approach of every
messenger. The very air from the South seemed to us redolent with death.
That palsying thought, indeed, took entire possession of my soul. I
could neither speak, think, nor dream of any thing else. My host was
of a less excitable temperament, and, although greatly depressed in
spirits, exerted himself to sustain my own.
There could be nothing more directly offensive to the eye of an artist
than the interior of what is termed in the United States--that is to
say, in Appallachia--a well-furnished apartment. Its most usual defect
is a want of keeping. We speak of the keeping of a room as we would of
the keeping of a picture--for both the picture and the room are amenable
to those undeviating principles which regulate all varieties of art; and
very nearly the same laws by which we decide on the higher merits of a
painting, suffice for decision on the adjustment of a chamber.
A want of keeping is observable sometimes in the character of the
several pieces of furniture, but generally in their colours or modes of
adaptation to use _Very _often the eye is offended by their inartistic
arrangement. Straight lines are too prevalent--too uninterruptedly
continued--or clumsily interrupted at right angles. If curved lines
occur, they are repeated into unpleasant uniformity. By undue precision,
the appearance of many a fine apartment is utterly spoiled.
Curtains are rarely well disposed, or well chosen in respect to other
decorations. With formal furniture, curtains are out of place; and an
extensive volume of drapery of any kind is, under any circumstance,
irreconcilable with good taste--the proper quantum, as well as the
proper adjustment, depending upon the character of the general effect.
Carpets are better understood of late than of ancient days, but we
still very frequently err in their patterns and colours. The soul of the
apartment is the carpet. From it are deduced not only the hues but the
forms of all objects incumbent. A judge at common law may be an ordinary
man; a good judge of a carpet _must be _a genius. Yet we have heard
discoursing of carpets, with the air "_d'un mouton qui reve," _fellows
who should not and who could not be entrusted with the management of
their own _moustaches. _Every one knows that a large floor _may _have a
covering of large figures, and that a small one must have a covering
of small--yet this is not all the knowledge in the world. As
regards texture, the Saxony is alone admissible. Brussels is the
preterpluperfect tense of fashion, and Turkey is taste in its dying
agonies. Touching pattern--a carpet should _not _be bedizzened out like
a Riccaree Indian--all red chalk, yellow ochre, and cock's feathers. In
brief--distinct grounds, and vivid circular or cycloid figures, _of
no meaning, _are here Median laws. The abomination of flowers, or
representations of well-known objects of any kind, should not be
endured within the limits of Christendom. Indeed, whether on carpets,
or curtains, or tapestry, or ottoman coverings, all upholstery of this
nature should be rigidly Arabesque. As for those antique floor-cloth &
still occasionally seen in the dwellings of the rabble--cloths of huge,
sprawling, and radiating devises, stripe-interspersed, and glorious
with all hues, among which no ground is intelligible--these are but the
wicked invention of a race of time-servers and money-lovers--children
of Baal and worshippers of Mammon--Benthams, who, to spare thought
and economize fancy, first cruelly invented the Kaleidoscope, and then
established joint-stock companies to twirl it by steam.
_Glare_ is a leading error in the philosophy of American household
decoration--an error easily recognised as deduced from the perversion of
taste just specified. , We are violently enamoured of gas and of glass.
The former is totally inadmissible within doors. Its harsh and unsteady
light offends. No one having both brains and eyes will use it. A mild,
or what artists term a cool light, with its consequent warm shadows,
will do wonders for even an ill-furnished apartment. Never was a more
lovely thought than that of the astral lamp. We mean, of course,
the astral lamp proper--the lamp of Argand, with its original plain
ground-glass shade, and its tempered and uniform moonlight rays. The
cut-glass shade is a weak invention of the enemy. The eagerness with
which we have adopted it, partly on account of its _flashiness,_ but
principally on account of its _greater rest,_ is a good commentary on
the proposition with which we began. It is not too much to say, that the
deliberate employer of a cut-glass shade, is either radically deficient
in taste, or blindly subservient to the caprices of fashion. The light
proceeding from one of these gaudy abominations is unequal broken, and
painful. It alone is sufficient to mar a world of good effect in the
furniture subjected to its influence. Female loveliness, in especial, is
more than one-half disenchanted beneath its evil eye.
In the matter of glass, generally, we proceed upon false principles. Its
leading feature is _glitter--_and in that one word how much of all that
is detestable do we express! Flickering, unquiet lights, are _sometimes
_pleasing--to children and idiots always so--but in the embellishment
of a room they should be scrupulously avoided. In truth, even strong
_steady _lights are inadmissible. The huge and unmeaning glass
chandeliers, prism-cut, gas-lighted, and without shade, which dangle in
our most fashionable drawing-rooms, may be cited as the quintessence of
all that is false in taste or preposterous in folly.
The rage for _glitter-_because its idea has become as we before
observed, confounded with that of magnificence in the abstract--has
led us, also, to the exaggerated employment of mirrors. We line our
dwellings with great British plates, and then imagine we have done a
fine thing. Now the slightest thought will be sufficient to convince
any one who has an eye at all, of the ill effect of numerous
looking-glasses, and especially of large ones. Regarded apart from
its reflection, the mirror presents a continuous, flat, colourless,
unrelieved surface,--a thing always and obviously unpleasant. Considered
as a reflector, it is potent in producing a monstrous and odious
uniformity: and the evil is here aggravated, not in merely direct
proportion with the augmentation of its sources, but in a ratio
constantly increasing. In fact, a room with four or five mirrors
arranged at random, is, for all purposes of artistic show, a room of
no shape at all. If we add to this evil, the attendant glitter upon
glitter, we have a perfect farrago of discordant and displeasing
effects. The veriest bumpkin, on entering an apartment so bedizzened,
would be instantly aware of something wrong, although he might be
altogether unable to assign a cause for his dissatisfaction. But let
the same person be led into a room tastefully furnished, and he would be
startled into an exclamation of pleasure and surprise.
It is an evil growing out of our republican institutions, that here a
man of large purse has usually a very little soul which he keeps in
it. The corruption of taste is a portion or a pendant of the
dollar-manufacture. As we grow rich, our ideas grow rusty. It is,
therefore, not among _our _aristocracy that we must look (if at all, in
Appallachia), for the spirituality of a British _boudoir. _But we have
seen apartments in the tenure of Americans of moderns [possibly "modest"
or "moderate"] means, which, in negative merit at least, might vie with
any of the _or-molu'd _cabinets of our friends across the water. Even
_now_, there is present to our mind's eye a small and not, ostentatious
chamber with whose decorations no fault can be found. The proprietor
lies asleep on a sofa--the weather is cool--the time is near midnight:
we will make a sketch of the room during his slumber.
It is oblong--some thirty feet in length and twenty-five in breadth--a
shape affording the best(ordinary) opportunities for the adjustment of
furniture. It has but one door--by no means a wide one--which is at one
end of the parallelogram, and but two windows, which are at the
other. These latter are large, reaching down to the floor--have deep
recesses--and open on an Italian _veranda. _Their panes are of a
crimson-tinted glass, set in rose-wood framings, more massive than
usual. They are curtained within the recess, by a thick silver tissue
adapted to the shape of the window, and hanging loosely in small
volumes. Without the recess are curtains of an exceedingly rich crimson
silk, fringed with a deep network of gold, and lined with silver tissue,
which is the material of the exterior blind. There are no cornices; but
the folds of the whole fabric (which are sharp rather than massive, and
have an airy appearance), issue from beneath a broad entablature of rich
giltwork, which encircles the room at the junction of the ceiling and
walls. The drapery is thrown open also, or closed, by means of a thick
rope of gold loosely enveloping it, and resolving itself readily into
a knot; no pins or other such devices are apparent. The colours of
the curtains and their fringe--the tints of crimson and gold--appear
everywhere in profusion, and determine the _character _of the room. The
carpet--of Saxony material--is quite half an inch thick, and is of the
same crimson ground, relieved simply by the appearance of a gold cord
(like that festooning the curtains) slightly relieved above the surface
of the _ground, _and thrown upon it in such a manner as to form a
succession of short irregular curves--one occasionally overlaying the
other. The walls are prepared with a glossy paper of a silver gray tint,
spotted with small Arabesque devices of a fainter hue of the prevalent
crimson. Many paintings relieve the expanse of paper. These are chiefly
landscapes of an imaginative cast--such as the fairy grottoes of
Stanfield, or the lake of the Dismal Swamp of Chapman. There
are, nevertheless, three or four female heads, of an ethereal
beauty-portraits in the manner of Sully. The tone of each picture is
warm, but dark. There are no "brilliant effects. " _Repose _speaks in
all. Not one is of small size. Diminutive paintings give that _spotty
_look to a room, which is the blemish of so many a fine work of Art
overtouched. The frames are broad but not deep, and richly carved,
without being _dulled _or filagreed. They have the whole lustre of
burnished gold. They lie flat on the walls, and do not hang off with
cords. The designs themselves are often seen to better advantage in this
latter position, but the general appearance of the chamber is injured.
But one mirror--and this not a very large one--is visible. In shape it
is nearly circular--and it is hung so that a reflection of the person
can be obtained from it in none of the ordinary sitting-places of the
room. Two large low sofas of rosewood and crimson silk, gold-flowered,
form the only seats, with the exception of two light conversation
chairs, also of rose-wood. There is a pianoforte (rose-wood, also),
without cover, and thrown open. An octagonal table, formed altogether of
the richest gold-threaded marble, is placed near one of the sofas. This
is also without cover--the drapery of the curtains has been thought
sufficient. . Four large and gorgeous Sevres vases, in which bloom a
profusion of sweet and vivid flowers, occupy the slightly rounded angles
of the room. A tall candelabrum, bearing a small antique lamp with
highly perfumed oil, is standing near the head of my sleeping friend.
Some light and graceful hanging shelves, with golden edges and crimson
silk cords with gold tassels, sustain two or three hundred magnificently
bound books. Beyond these things, there is no furniture, if we except
an Argand lamp, with a plain crimson-tinted ground glass shade, which
depends from He lofty vaulted ceiling by a single slender gold chain,
and throws a tranquil but magical radiance over all.
A TALE OF JERUSALEM
Intensos rigidarn in frontern ascendere canos
Passus erat----
--Lucan--De Catone
----a bristly bore.
"LET us hurry to the walls," said Abel-Phittim to Buzi-Ben-Levi and
Simeon the Pharisee, on the tenth day of the month Thammuz, in the year
of the world three thousand nine hundred and forty-one--let us hasten
to the ramparts adjoining the gate of Benjamin, which is in the city of
David, and overlooking the camp of the uncircumcised; for it is the
last hour of the fourth watch, being sunrise; and the idolaters, in
fulfilment of the promise of Pompey, should be awaiting us with the
lambs for the sacrifices. "
Simeon, Abel-Phittim, and Duzi-Ben-Levi were the Gizbarim, or
sub-collectors of the offering, in the holy city of Jerusalem.
"Verily," replied the Pharisee; "let us hasten: for this generosity
in the heathen is unwonted; and fickle-mindedness has ever been an
attribute of the worshippers of Baal. "
"'That they are fickle-minded and treacherous is as true as the
Pentateuch," said Buzi-Ben-Levi, "but that is only toward the people
of Adonai. When was it ever known that the Ammonites proved wanting to
their own interests? Methinks it is no great stretch of generosity to
allow us lambs for the altar of the Lord, receiving in lieu thereof
thirty silver shekels per head! "
"Thou forgettest, however, Ben-Levi," replied Abel-Phittim, "that the
Roman Pompey, who is now impiously besieging the city of the Most High,
has no assurity that we apply not the lambs thus purchased for the
altar, to the sustenance of the body, rather than of the spirit. "
"Now, by the five corners of my beard! " shouted the Pharisee, who
belonged to the sect called The Dashers (that little knot of saints
whose manner of _dashing _and lacerating the feet against the
pavement was long a thorn and a reproach to less zealous devotees-a
stumbling-block to less gifted perambulators)--"by the five corners of
that beard which, as a priest, I am forbidden to shave! -have we lived
to see the day when a blaspheming and idolatrous upstart of Rome shall
accuse us of appropriating to the appetites of the flesh the most holy
and consecrated elements? Have we lived to see the day when--"'
"Let us not question the motives of the Philistine," interrupted
Abel-Phittim' "for to-day we profit for the first time by his avarice
or by his generosity; but rather let us hurry to the ramparts, lest
offerings should be wanting for that altar whose fire the rains of
heaven can not extinguish, and whose pillars of smoke no tempest can
turn aside. "
That part of the city to which our worthy Gizbarim now hastened, and
which bore the name of its architect, King David, was esteemed the most
strongly fortified district of Jerusalem; being situated upon the steep
and lofty hill of Zion. Here, a broad, deep, circumvallatory trench,
hewn from the solid rock, was defended by a wall of great strength
erected upon its inner edge. This wall was adorned, at regular
interspaces, by square towers of white marble; the lowest sixty, and the
highest one hundred and twenty cubits in height. But, in the vicinity of
the gate of Benjamin, the wall arose by no means from the margin of the
fosse. On the contrary, between the level of the ditch and the basement
of the rampart sprang up a perpendicular cliff of two hundred and fifty
cubits, forming part of the precipitous Mount Moriah. So that when
Simeon and his associates arrived on the summit of the tower called
Adoni-Bezek-the loftiest of all the turrets around about Jerusalem, and
the usual place of conference with the besieging army-they looked down
upon the camp of the enemy from an eminence excelling by many feet that
of the Pyramid of Cheops, and, by several, that of the temple of Belus.
"Verily," sighed the Pharisee, as he peered dizzily over the precipice,
"the uncircumcised are as the sands by the seashore-as the locusts
in the wilderness! The valley of the King hath become the valley of
Adommin. "
"And yet," added Ben-Levi, "thou canst not point me out a Philistine-no,
not one-from Aleph to Tau-from the wilderness to the battlements--who
seemeth any bigger than the letter Jod! "
"Lower away the basket with the shekels of silver! " here shouted a
Roman soldier in a hoarse, rough voice, which appeared to issue from the
regions of Pluto--"lower away the basket with the accursed coin which it
has broken the jaw of a noble Roman to pronounce! Is it thus you evince
your gratitude to our master Pompeius, who, in his condescension, has
thought fit to listen to your idolatrous importunities? The god Phoebus,
who is a true god, has been charioted for an hour-and were you not to
be on the ramparts by sunrise? Aedepol! do you think that we, the
conquerors of the world, have nothing better to do than stand waiting by
the walls of every kennel, to traffic with the dogs of the earth? Lower
away! I say--and see that your trumpery be bright in color and just in
weight! "
"El Elohim! " ejaculated the Pharisee, as the discordant tones of the
centurion rattled up the crags of the precipice, and fainted away
against the temple--"El Elohim! --who is the god Phoebus? --whom doth the
blasphemer invoke? Thou, Buzi-Ben-Levi! who art read in the laws of
the Gentiles, and hast sojourned among them who dabble with the
Teraphim! --is it Nergal of whom the idolater speaketh? ---or
Ashimah? --or Nibhaz,--or Tartak? --or Adramalech? --or Anamalech? --or
Succoth-Benith? --or Dagon? --or Belial? --or Baal-Perith? --or
Baal-Peor? --or Baal-Zebub? "
"Verily it is neither-but beware how thou lettest the rope slip too
rapidly through thy fingers; for should the wicker-work chance to hang
on the projection of Yonder crag, there will be a woful outpouring of
the holy things of the sanctuary. "
By the assistance of some rudely constructed machinery, the heavily
laden basket was now carefully lowered down among the multitude; and,
from the giddy pinnacle, the Romans were seen gathering confusedly
round it; but owing to the vast height and the prevalence of a fog, no
distinct view of their operations could be obtained.
Half an hour had already elapsed.
"We shall be too late! " sighed the Pharisee, as at the expiration of
this period he looked over into the abyss-"we shall be too late! we
shall be turned out of office by the Katholim. "
"No more," responded Abel-Phittim---"no more shall we feast upon the fat
of the land-no longer shall our beards be odorous with frankincense--our
loins girded up with fine linen from the Temple. "
"Racal" swore Ben-Levi, "Racal do they mean to defraud us of the
purchase money? or, Holy Moses! are they weighing the shekels of the
tabernacle? "
"They have given the signal at last! " cried the Pharisee-----"they
have given the signal at last! pull away, Abel-Phittim! --and thou,
Buzi-Ben-Levi, pull away! --for verily the Philistines have either still
hold upon the basket, or the Lord hath softened their hearts to place
therein a beast of good weight! " And the Gizbarim pulled away, while
their burden swung heavily upward through the still increasing mist.
"Booshoh he! "--as, at the conclusion of an hour, some object at the
extremity of the rope became indistinctly visible--"Booshoh he! " was the
exclamation which burst from the lips of Ben-Levi.
*****
"Booshoh he! --for shame! --it is a ram from the thickets of Engedi, and as
rugged as the valley of jehosaphat! "
"It is a firstling of the flock," said Abel-Phittim, "I know him by the
bleating of his lips, and the innocent folding of his limbs. His eyes
are more beautiful than the jewels of the Pectoral, and his flesh is
like the honey of Hebron. "
"It is a fatted calf from the pastures of Bashan," said the Pharisee,
"the heathen have dealt wonderfully with us----let us raise up
our voices in a psalm--let us give thanks on the shawm and on the
psaltery-on the harp and on the huggab-on the cythern and on the
sackbut! "
It was not until the basket had arrived within a few feet of the
Gizbarim that a low grunt betrayed to their perception a hog of no
common size.
"Now El Emanu! " slowly and with upturned eyes ejaculated the trio, as,
letting go their hold, the emancipated porker tumbled headlong among the
Philistines, "El Emanu! -God be with us--it is _the unutterable flesh! "_
THE SPHINX
DURING the dread reign of the Cholera in New York, I had accepted the
invitation of a relative to spend a fortnight with him in the retirement
of his _cottage ornee_ on the banks of the Hudson. We had here around
us all the ordinary means of summer amusement; and what with rambling
in the woods, sketching, boating, fishing, bathing, music, and books,
we should have passed the time pleasantly enough, but for the fearful
intelligence which reached us every morning from the populous city.
Not a day elapsed which did not bring us news of the decease of some
acquaintance. Then as the fatality increased, we learned to expect daily
the loss of some friend. At length we trembled at the approach of every
messenger. The very air from the South seemed to us redolent with death.
That palsying thought, indeed, took entire possession of my soul. I
could neither speak, think, nor dream of any thing else. My host was
of a less excitable temperament, and, although greatly depressed in
spirits, exerted himself to sustain my own. His richly philosophical
intellect was not at any time affected by unrealities. To the substances
of terror he was sufficiently alive, but of its shadows he had no
apprehension.
His endeavors to arouse me from the condition of abnormal gloom into
which I had fallen, were frustrated, in great measure, by certain
volumes which I had found in his library. These were of a character to
force into germination whatever seeds of hereditary superstition
lay latent in my bosom. I had been reading these books without his
knowledge, and thus he was often at a loss to account for the forcible
impressions which had been made upon my fancy.
A favorite topic with me was the popular belief in omens--a belief
which, at this one epoch of my life, I was almost seriously disposed
to defend. On this subject we had long and animated discussions--he
maintaining the utter groundlessness of faith in such matters,--I
contending that a popular sentiment arising with absolute spontaneity-
that is to say, without apparent traces of suggestion--had in itself the
unmistakable elements of truth, and was entitled to as much respect
as that intuition which is the idiosyncrasy of the individual man of
genius.
The fact is, that soon after my arrival at the cottage there had
occurred to myself an incident so entirely inexplicable, and which had
in it so much of the portentous character, that I might well have been
excused for regarding it as an omen. It appalled, and at the same time
so confounded and bewildered me, that many days elapsed before I could
make up my mind to communicate the circumstances to my friend.
Near the close of exceedingly warm day, I was sitting, book in hand, at
an open window, commanding, through a long vista of the river banks, a
view of a distant hill, the face of which nearest my position had been
denuded by what is termed a land-slide, of the principal portion of its
trees. My thoughts had been long wandering from the volume before me to
the gloom and desolation of the neighboring city. Uplifting my eyes
from the page, they fell upon the naked face of the bill, and upon an
object--upon some living monster of hideous conformation, which very
rapidly made its way from the summit to the bottom, disappearing finally
in the dense forest below. As this creature first came in sight, I
doubted my own sanity--or at least the evidence of my own eyes; and
many minutes passed before I succeeded in convincing myself that I was
neither mad nor in a dream. Yet when I described the monster (which
I distinctly saw, and calmly surveyed through the whole period of
its progress), my readers, I fear, will feel more difficulty in being
convinced of these points than even I did myself.
Estimating the size of the creature by comparison with the diameter of
the large trees near which it passed--the few giants of the forest which
had escaped the fury of the land-slide--I concluded it to be far larger
than any ship of the line in existence. I say ship of the line, because
the shape of the monster suggested the idea--the hull of one of our
seventy-four might convey a very tolerable conception of the general
outline. The mouth of the animal was situated at the extremity of a
proboscis some sixty or seventy feet in length, and about as thick as
the body of an ordinary elephant. Near the root of this trunk was
an immense quantity of black shaggy hair--more than could have been
supplied by the coats of a score of buffaloes; and projecting from this
hair downwardly and laterally, sprang two gleaming tusks not unlike
those of the wild boar, but of infinitely greater dimensions. Extending
forward, parallel with the proboscis, and on each side of it, was a
gigantic staff, thirty or forty feet in length, formed seemingly of pure
crystal and in shape a perfect prism,--it reflected in the most gorgeous
manner the rays of the declining sun. The trunk was fashioned like a
wedge with the apex to the earth. From it there were outspread two pairs
of wings--each wing nearly one hundred yards in length--one pair being
placed above the other, and all thickly covered with metal scales; each
scale apparently some ten or twelve feet in diameter. I observed that
the upper and lower tiers of wings were connected by a strong chain. But
the chief peculiarity of this horrible thing was the representation of a
Death's Head, which covered nearly the whole surface of its breast, and
which was as accurately traced in glaring white, upon the dark ground of
the body, as if it had been there carefully designed by an artist. While
I regarded the terrific animal, and more especially the appearance
on its breast, with a feeling or horror and awe--with a sentiment of
forthcoming evil, which I found it impossible to quell by any effort of
the reason, I perceived the huge jaws at the extremity of the proboscis
suddenly expand themselves, and from them there proceeded a sound so
loud and so expressive of wo, that it struck upon my nerves like a knell
and as the monster disappeared at the foot of the hill, I fell at once,
fainting, to the floor.
Upon recovering, my first impulse, of course, was to inform my friend
of what I had seen and heard--and I can scarcely explain what feeling of
repugnance it was which, in the end, operated to prevent me.
At length, one evening, some three or four days after the occurrence, we
were sitting together in the room in which I had seen the apparition--I
occupying the same seat at the same window, and he lounging on a sofa
near at hand.
