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But to return to my subject.

“Finally and lastly,” I said, “in my analysis and explication of the agreeableness of those same parlors, comes the growing grace,–their homeliness. By ‘homeliness’ I mean not ugliness, as the word is apt to be used, but the air that is given to a room by being really at home in it. Not the most skillful arrangement can impart this charm.

“It is said that a king of France once remarked, ‘My son, you must seem to love your people.’

“‘Father, how shall I seem to love them?’

“‘My son, you must love them.’

“So, to make rooms seem home-like, you must be at home in them. Human light and warmth are so wanting in some rooms, it is so evident that they are never used, that you can never be at ease there. In vain the housemaid is taught to wheel the sofa and turn chair toward chair; in vain it is attempted to imitate a negligent arrangement of the centre-table.

“Books that have really been read and laid down, chairs that have really been moved here and there in the animation of social contact, have a sort of human vitality in them; and a room in which people really live and enjoy is as different from a shut-up apartment as a live woman from a wax image.

“Even rooms furnished without taste often become charming from this one grace, that they seem to let you into the home life and home current. You seem to understand in a moment that you are taken into the family, and are moving in its inner circles, and not revolving at a distance in some outer court of the gentiles.

“How many people do we call on from year to year and know no more of their feelings, habits, tastes, family ideas and ways, than if they lived in Kamtschatka! And why? Because the room which they call a front parlor is made expressly so that you never shall know. They sit in a back room,–work, talk, read, perhaps. After the servant has let you in and opened a crack of the shutters, and while you sit waiting for them to change their dress and come in, you speculate as to what they may be doing. From some distant region, the laugh of a child, the song of a canary-bird reaches you, and then a door claps hastily to. Do they love plants? Do they write letters, sew, embroider, crochet? Do they ever romp and frolic? What books do they read? Do they sketch or paint? Of all these possibilities the mute and muffled room says nothing. A sofa and six chairs, two ottomans fresh from the upholsterer’s, a Brussels carpet, a centre-table with four gilt Books of Beauty on it, a mantel-clock from Paris, and two bronze vases,–all those tell you only in frigid tones, ‘This is the best room,’–only that, and nothing more,–and soon she trips in in her best clothes, and apologizes for keeping you waiting, asks how your mother is, and you remark that it is a pleasant day, and thus the acquaintance progresses from year to year. One hour in the back room, where the plants and canary-bird and children are, might have made you fast friends for life; but, little as it is, you care no more for them than for the gilt clock on the mantel.

“And now, girls,” said I, pulling a paper out of my pocket, “you must know that your father is getting to be famous by means of these ‘House and Home Papers.’ Here is a letter I have just received:–

“MOST EXCELLENT MR. CROWFIELD,–Your thoughts have lighted into our family circle and echoed from our fireside. We all feel the force of them, and are delighted with the felicity of your treatment of the topic you have chosen. You have taken hold of a subject that lies deep in our hearts, in a genial, temperate, and convincing spirit. All must acknowledge the power of your sentiments upon their imaginations; if they could only trust to them in actual life! There is the rub.