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Page 40
"That is feminine logic. A man would have said that the size of a house
determines the amount of room it contains."
"Undoubtedly he would; but it does not," said Jill, decidedly. "I can
show you houses that look large and _are_ large, that make great
pretensions in point of style, that cost a great deal of money, and yet
have no room in them. They have no place for the beds to stand, no room
for the doors to swing, no room for a piano, no room for a generous
sofa, no room for the book-cases, no room for easy stairs, no room for
fireplaces, no room for convenient attendance at the dining-table, no
room for wholesome cooking, no room for sick people, no room for fresh
air, no room for sunlight, no room for an unexpected guest. They have
plenty of rooms, apartments, cells--but no real, generous, comfortable
house room."
"I suppose Aunt Melville refers to the mathematical fact that a house
forty feet square contains more cubic feet than the same length of
walls would hold in a more elongated or irregular shape."
"By the same rule an octagon or circle would be better still, which is
absurd. No; her feminine logic is no worse than yours, and no better.
The amount of room a house contains depends neither upon its size
nor its shape. Her analogy, too, is at fault when she implies that the
outside of a house bears the same relation to the interior that
clothing bears to the person who wears it. The art of the tailor and
dressmaker has at present no other test of merit than fashion and
costliness, elements to which real art, architectural or otherwise, is
always and absolutely indifferent. The external aspect of the house
should be the natural spontaneous outgrowth of its legitimate use and
proper construction, as face, form and carriage express the character
of each individual."
[Illustration: NOT BRILLIANT BUT IMPRESSIVE.]
[Illustration: WOODEN RICHNESS.]
Jill spoke with unwonted seriousness and a wisdom beyond her years.
Even Jack was impressed for the moment, and expressed a wish to tear
down some of the ornamental appendages from his own house. "The
piazzas are well enough--that is, they would be if they were twice as
wide--but the observatory is good for nothing, because nobody can get
into it to observe, unless he crawls along the ridge-pole, and I never
did know what all that mess of wooden stuff under the eaves and about
the windows was for. I suppose it was intended to give the house a
richer look."
[Illustration: NO WASTE OF WOOD.]
"Yes, it enriches it just as countless rows of puffs, ruffles and
flounces, made of coarse cotton cloth with a sewing machine and piled
on without regard to grace or comfort, would 'enrich' a lady's dress."
"I thought you objected to the dress anology?"
"I do, positively, but it appears to have been the theory accepted by
modern architects almost universally. I don't see. Jack, that your
house is any worse than others in this respect, and I have no doubt it
will 'sell' all the better for the superfluous lumber attached to the
outside walls."
"Thank you, my dear! That is the first good word you have spoken for
it. Well, there is one comfort; I am convinced that you didn't commit
the reprehensible folly of marrying me for my house."
"No, indeed, Jack. It was pure devotion; a desperate case of elective
affinity."
"And yet we are happily married! _We_ shall never do for the hero and
heroine of a modern romance. There isn't a magazine editor or a book
publisher that would look at us for a moment."
"Let us be thankful--and finish our letter.
"'I am anxious, as you know, my dear niece, that you should,
begin life in a manner creditable to the family, and I trust
you will allow no romantic or utilitarian notions to prevent
your conforming to the requirements of good society. This
house, in all such respects, will be perfectly satisfactory. I
have bought the plans for you from the owner, and I hope you
will accept them with my best wishes.'
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