The Rise of Silas Lapham (American Classics Series). William Dean Howells
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first time I ever heard of a love-letter in the form of a puff to a cattle-ranch. But perhaps that’s the style on the Hill.”
Mrs. Lapham told her husband of the arrival of the paper, treating the fact with an importance that he refused to see in it.
“How do you know the fellow sent it, anyway?” he demanded.
“Oh, I know he did.”
“I don’t see why he couldn’t write to ‘Rene, if he really meant anything.”
“Well, I guess that wouldn’t be their way,” said Mrs. Lapham; she did not at all know what their way would be.
When the spring opened Colonel Lapham showed that he had been in earnest about building on the New Land. His idea of a house was a brown-stone front, four stories high, and a French roof with an air-chamber above. Inside, there was to be a reception-room on the street and a dining-room back. The parlours were to be on the second floor, and finished in black walnut or party-coloured paint. The chambers were to be on the three floors above, front and rear, with side-rooms over the front door. Black walnut was to be used everywhere except in the attic, which was to be painted and grained to look like black walnut. The whole was to be very high-studded, and there were to be handsome cornices and elaborate centre-pieces throughout, except, again, in the attic.
These ideas he had formed from the inspection of many new buildings which he had seen going up, and which he had a passion for looking into. He was confirmed in his ideas by a master builder who had put up a great many houses on the Back Bay as a speculation, and who told him that if he wanted to have a house in the style, that was the way to have it.
The beginnings of the process by which Lapham escaped from the master builder and ended in the hands of an architect are so obscure that it would be almost impossible to trace them. But it all happened, and Lapham promptly developed his ideas of black walnut finish, high studding, and cornices. The architect was able to conceal the shudder which they must have sent through him. He was skilful, as nearly all architects are, in playing upon that simple instrument Man. He began to touch Colonel Lapham’s stops.
“Oh, certainly, have the parlours high-studded. But you’ve seen some of those pretty old-fashioned country-houses, haven’t you, where the entrance-story is very low-studded?” “Yes,” Lapham assented.
“Well, don’t you think something of that kind would have a very nice effect? Have the entrance-story low-studded, and your parlours on the next floor as high as you please. Put your little reception-room here beside the door, and get the whole width of your house frontage for a square hall, and an easy low-tread staircase running up three sides of it. I’m sure Mrs. Lapham would find it much pleasanter.” The architect caught toward him a scrap of paper lying on the table at which they were sitting and sketched his idea. “Then have your dining-room behind the hall, looking on the water.”
He glanced at Mrs. Lapham, who said, “Of course,” and the architect went on —
“That gets you rid of one of those long, straight, ugly staircases,”— until that moment Lapham had thought a long, straight staircase the chief ornament of a house — “and gives you an effect of amplitude and space.”
“That’s so!” said Mrs. Lapham. Her husband merely made a noise in his throat.
“Then, were you thinking of having your parlours together, connected by folding doors?” asked the architect deferentially.
“Yes, of course,” said Lapham. “They’re always so, ain’t they?”
“Well, nearly,” said the architect. “I was wondering how would it do to make one large square room at the front, taking the whole breadth of the house, and, with this hall-space between, have a music-room back for the young ladies?”
Lapham looked helplessly at his wife, whose quicker apprehension had followed the architect’s pencil with instant sympathy. “First-rate!” she cried.
The Colonel gave way. “I guess that would do. It’ll be kind of odd, won’t it?”
“Well, I don’t know,” said the architect. “Not so odd, I hope, as the other thing will be a few years from now.” He went on to plan the rest of the house, and he showed himself such a master in regard to all the practical details that Mrs. Lapham began to feel a motherly affection for the young man, and her husband could not deny in his heart that the fellow seemed to understand his business. He stopped walking about the room, as he had begun to do when the architect and Mrs. Lapham entered into the particulars of closets, drainage, kitchen arrangements, and all that, and came back to the table. “I presume,” he said, “you’ll have the drawing-room finished in black walnut?”
“Well, yes,” replied the architect, “if you like. But some less expensive wood can be made just as effective with paint. Of course you can paint black walnut too.”
“Paint it?” gasped the Colonel.
“Yes,” said the architect quietly. “White, or a little off white.”
Lapham dropped the plan he had picked up from the table. His wife made a little move toward him of consolation or support.
“Of course,” resumed the architect, “I know there has been a great craze for black walnut. But it’s an ugly wood; and for a drawing-room there is really nothing like white paint. We should want to introduce a little gold here and there. Perhaps we might run a painted frieze round under the cornice — garlands of roses on a gold ground; it would tell wonderfully in a white room.”
The Colonel returned less courageously to the charge. “I presume you’ll want Eastlake mantel-shelves and tiles?” He meant this for a sarcastic thrust at a prevailing foible of the profession.
“Well, no,” gently answered the architect. “I was thinking perhaps a white marble chimney-piece, treated in the refined Empire style, would be the thing for that room.”
“White marble!” exclaimed the Colonel. “I thought that had gone out long ago.”
“Really beautiful things can’t go out. They may disappear for a little while, but they must come back. It’s only the ugly things that stay out after they’ve had their day.”
Lapham could only venture very modestly, “Hard-wood floors?”
“In the music-room, of course,” consented the architect.
“And in the drawing-room?”
“Carpet. Some sort of moquette, I should say. But I should prefer to consult Mrs. Lapham’s taste in that matter.”
“And in the other rooms?”
“Oh, carpets, of course.”
“And what about the stairs?”
“Carpet. And I should have the rail and banisters white — banisters turned or twisted.”
The Colonel said under his breath, “Well, I’m dumned!” but he gave no utterance to his astonishment in the architect’s presence. When he went at last — the session did not end till eleven o’clock — Lapham said, “Well, Pert, I guess that fellow’s fifty years behind, or ten years ahead. I wonder what the Ongpeer style is?”
“I don’t know. I hated to ask. But he seemed to understand what he was talking about. I declare, he knows what a woman wants in a house better than she does herself.”
“And a man’s simply nowhere in comparison,” said Lapham. But he respected a fellow who could beat him at every point, and have a reason ready, as this architect had; and when he recovered from the daze into which the complete upheaval of all his preconceived notions had left him, he was in a fit state to swear by the architect. It seemed to him that he had discovered the fellow (as he always called him) and owned him now, and the fellow did nothing to disturb this impression. He entered into that brief but intense intimacy with the Laphams which the sympathetic architect holds with his clients. He was privy to all their differences of opinion and all