tacles on entering into the Instrument Trade, though his eyes were like a hawk’s—and opened the prayer-book at the Burial Service. And reading softly to himself, in the little back parlour, and stopping now and then to wipe his eyes, the Captain, in a true and simple spirit, committed Walter’s body to the deep.
CHAPTER XXXIII.
CONTRASTS.
Turn we our eyes upon two homes; not lying side by side, but wide apart, though both within easy range and reach of the great city of London.
The first is situated in the green and wooded country near Norwood. It is not a mansion; it is of no pretensions as to size; but it is beautifully arranged, and tastefully kept. The lawn, the soft, smooth slope, the flower-garden, the clumps of trees where graceful forms of ash and willow are not wanting, the conservatory, the rustic verandah with sweet-smelling creeping plants entwined about the pillars, the simple exterior of the house, the well-ordered offices, though all upon the diminutive scale proper to a mere cottage, bespeak an amount of elegant comfort within, that might serve for a palace. This indication is not without warrant; for, within, it is a house of refinement and luxury. Rich colours, excellently blended, meet the eye at every turn; in the furniture—its proportions admirably devised to suit the shapes and sizes of the small rooms; on the walls; upon the floors; tingeing and subduing the light that comes in through the odd glass doors and windows here and there. There are a few choice prints and pictures too; in quaint nooks and recesses there is no want of books; and there are games of skill and chance set forth on tables—fantastic chessmen, dice, backgammon, cards, and billiards.
And yet amidst this opulence of comfort, there is something in the general air that is not well. Is it that the carpets and the cushions are too soft and noiseless, so that those who move or repose among them seem to act by stealth? Is it that the prints and pictures do not commemorate great thoughts or deeds, or render nature in the poetry of landscape, hall, or hut, but are of one voluptuous cast—mere shows of form and colour—and no more? Is it that the books have all their gold outside, and that the titles of the greater part qualify them to be companions of the prints and pictures? Is it that the completeness and the beauty of the place are here and there belied by an affectation of humility, in some unimportant and inexpensive regard, which is as false as the face of the too truly painted portrait hanging yonder, or its original at breakfast in his easy chair below it? Or is it that, with the daily breath of that original and master of all here, there issues forth some subtle portion of himself, which gives a vague expression of himself to everything about him?
