Hawthorne's next work, _The House of the Seven Gables_, is a story of the New England of his own day. Through its pages flit the contrasting figures that one might find there and nowhere else. The old spinster of ancient family who is obliged in her latter years to open a toy and ginger-bread shop, and who never forgets the time when the house with seven gables was a mansion whose hospitality was honored by all, is a pathetic picture of disappointed hope and broken-down fortune. So also her brother, who was imprisoned under a false charge for twenty years, and who is obliged in his old age to lean upon his sister for support.

The other characters are alike true to life--a life that has almost disappeared now in the changes of the half-century since its scenes were made the inspiration of Hawthorne's romance.

The _House of the Seven Gables_ was followed by two beautiful volumes for children: _The Wonder-Book_, in which the stories of the Greek myths are retold, and _Tanglewood Tales_.

In _The Wonder-Book_ Hawthorne writes as if he were a child himself, so delicious is the charm that he weaves around these old, old tales. Not content with the myths, he created little incidents and impossible characters, which glance in and out with elfin fascination. He feels that these were the very stories that were told by the centaurs, fairies, and satyrs themselves in the shadows of those old Grecian forests. Here we learn that King Midas not only had his palace turned to gold, but that his own little daughter Marigold, a fancy of Hawthorne's own, was also converted into the same shilling metal. We are told, too, the secrets of many a hero and G.o.d of this realm of fancy which had been unsuspected by any other historian of their deeds. No child in reading _The Wonder-Book_ would doubt for a moment that Hawthorne had obtained the stories first hand from the living characters, and would easily believe that he had hobn.o.bbed many a moonlit night with Pan and Bacchus and other sylvan deities in their vine-covered grottos by the famed rivers of Greece. This dainty ethereal touch of Hawthorne appears especially in all his work for children. It is as if he understood and entered into that mystery which ever surrounds child life and sets it sacredly apart. It is the same quality, nearly, which gives distinction to his fourth great novel, in which he is called upon to deal with the elusive character of a man who is supposed to be a descendant of the old fauns. We feel that this creation, which is named Donatello, from his resemblance to the celebrated statue of the Marble Faun by that sculptor, is not wholly human, and although he has human interests and feelings, Hawthorne is always a master in treating such a subject as this. He makes Donatello ashamed of his pointed ears, though his spirit is as wild and untamed as that of his crude ancestors. In this book--which takes its name from the statue--_The Marble Faun_, there is a description of a scene where Donatello, who is by t.i.tle an Italian count, joins in a peasant dance around one of the public fountains. And so vividly is his half-human nature brought out that one feels as if Hawthorne must have witnessed somewhere the mad revels of the veritable fauns and satyrs in the days of their life upon the earth. In the whole development of this story Hawthorne shows the same subtle sympathy with natures so far out of the commonplace that they seem to belong to another world. The mystery of such souls having the same charm for him as the secrets of the earth and air have for the scientist and philosopher.

[Ill.u.s.tration: AT BROOK FARM.]

The book coming between _The House of the Seven Gables_ and _The Marble Faun_ is called The _Blithedale Romance_. It is founded partly upon a period of Hawthorne's life when he became a member of a community which hoped to improve the world by showing that to live healthily, manual labor must be combined with intellectual pursuits, and that self-interest and all differences in rank could only be injurious to a country. This little society of reformers lived in a suburb of Boston, and called their a.s.sociation Brook Farm. Each member was supposed to perform some manual labor on the farm or in the house each day, although hours were set aside for study and intellectual work. Here Hawthorne ploughed the fields like a farmer boy in the daytime, and in the evening joined in the amus.e.m.e.nts, or sat apart while the other members talked about art and literature and science, danced, sang, or read Shakespeare aloud.

Some of the cleverest men and women of New England became members of this community, the rules of which obliged the men to wear plaid blouses and rough straw hats, and the women to content themselves with plain calico gowns.

This company of serious-minded men and women, who tried to solve a great problem by leading the lives of Acadian shepherds, at length dispersed, each one going back into the world and working on as bravely as if the experiment had been a great success. The record of the life and experiences of Brook Farm are shadowed forth in _The Blithedale Romance_, although it is not by any means a literal narrative of its existence.

[Ill.u.s.tration: THE OLD MANSE.]

Hawthorne's early married life was spent at Concord, near Boston, in a quaint old dwelling called the Manse, and as all his work partakes of the personal flavor of his own life, so his existence here is recorded in a delightful series of essays called _Mosses from an Old Manse_. Here we have a description of the old house itself and of the author's family life, of the kitchen-garden and apple orchards, of the meadows and woods, and of his friendship with that lover of nature, Henry Th.o.r.eau, whose writings form a valuable contribution to American literature. The _Mosses from an Old Manse_ must ever be famous as the history of the quiet hours of the greatest American man of letters. They are full of Hawthorne's own personality, and reveal more than any other of his books, the depth and purity of his poetic and rarely gifted nature.

In 1853 Hawthorne was appointed American Consul at Liverpool by his old friend and school-mate Franklin Pierce, then President of the United States. He remained abroad seven years, spending the last four on the continent. The results of this experience are found in the celebrated _Marble Faun_, published in Europe under the t.i.tle _Transformation_. It was written in Rome, and it is interesting to know that the story was partly suggested to Hawthorne by an old villa near Florence which he occupied with his family. This old villa possessed a moss-covered tower, "haunted," as Hawthorne said in a letter to a friend, "by owls and by the ghost of a monk who was confined there in the thirteenth century, previous to being burnt at the stake in the princ.i.p.al square of Florence." He also states in the same letter that he meant to put the old castle bodily in a romance that was then in his head, and he carried out this threat by making the villa the old family castle of Donatello.

After Hawthorne returned to America he began two other novels, one founded upon the old legend of the elixir of life. This story was probably suggested to him by Th.o.r.eau, who spoke of the house in which Hawthorne lived at Concord, after leaving the old Manse, as having been the abode, a century or two before, of a man who believed that he should never die. This subject was a charming one for Hawthorne's peculiar genius, but the story, with another--the _Dolliver Romance_--was never completed, the death of Hawthorne in 1864 leaving the work unfinished.

[Ill.u.s.tration: THE CAMERA CLUB]

This Department is conducted in the interest of Amateur Photographers, and the Editor will be pleased to answer any question on the subject so far as possible. Correspondents should address Editor Camera Club Department.

HOW TO DEVELOP CLOUD PICTURES.

Pictures taken simply of clouds, without special attention to the landscape, should be developed very slowly in order to bring out all the soft shadows, which are lost if the development is hurried.

Where clouds and landscape have been taken in one picture, the printing quality of the negative may be made uniform by careful development of the plate.

Place the plate in a rather weak developer, and as soon as the outlines of the landscape begin to appear take it out and place in a dish of clean water so as to arrest the development. Pour off the developer, put the plate back in the tray, and finish the plate with brush development.

To do this take a soft camel's-hair brush or a small wad of surgeon's cotton, dip into the developer, and brush over the part of the plate which develops more slowly, which will be the landscape. As soon as this part is nearly developed flood the plate with a weak solution of developer, increasing it in strength till the sky is fully developed.

Brush development requires a careful hand, but, like any other part of photography, becomes easy by repeated trials.

Another way of developing one part of the plate at a time is to take the plate from the tray as soon as the outlines appear; turn off the developer, and wash the plate. Put it back in the tray, and tip the tray so that the sky will be out of the developer, turn in the developer, and rock the tray gently to and fro, but do not allow any of the developer to touch the sky until the shadows in the landscape are well out.

When the shadows are nearly or quite developed flood the whole plate with the developer. The sky will develop very quickly, and if the process is carefully watched a fine even-printing negative will be the result. This plan of development is most successful where the horizon-line is not too much broken.

Having once succeeded in catching the clouds, one will never be quite satisfied with a landscape picture which has a perfectly clear sky.

We devote a little of our s.p.a.ce this week to tell the Camera Club something about two publications which have been sent to the editor for inspection, and which are the work of some of the members of our club.

The first is ent.i.tled the _Focus_, a magazine issued by the Niepce Corresponding Club, and published by Sir Knight Arthur F. Atkinson, of Sacramento, California.

The literary matter is typewritten, and the ill.u.s.trations are, with one exception, original photographs by members of the Chapter. The first ill.u.s.tration is a fine platinum print of the first-prize landscape picture which was published in HARPER'S YOUNG PEOPLE, March 26, 1895.

The first article, ent.i.tled "Rural Photography," is a most amusing account of one J. Focus Snapschotte's attempt to take pictures in the country. The pen and-ink sketch of "Silas" does great credit to the artist, who we suspect is the publisher of the magazine, as the initials A. F. A. are the same.

The other articles are part of a continued story, a description of the prize landscape, an account of the capital of California, and matters connected with the club. The photographs do great credit to the members, and the whole magazine is very nicely arranged and embellished.

The second magazine is ent.i.tled _Hints_, and is published by Sir Knight George D. Galloway and Sir Knight George Johnson, Jun., of Eau Claire, Wisconsin.

As its name indicates, it is intended to help the amateur to do better work. Its object is stated at the beginning: "This is a practical periodical, and we know all who see it will say so too. From all the prints that are here exhibited you will get _hints_, and you will notice that your work will improve steadily in all respects."

This magazine is also ill.u.s.trated with original photographs, among which we notice one which also appeared in the Camera Club Department a short time ago. It is by Sir Knight Andrew Phillips, of Nunda, New York, and is ent.i.tled "Knights and Ladies of the Camera Club."

Both of these publications cannot fail to be helpful to those members who have the privilege of examining them, for one is sure to learn something by "exchanging experiences." The Chapters which issue these magazines have reason to feel very proud of them.

A correspondent who signs herself "Sweet Marie" asks: 1. How to prepare the best and cheapest developer. 2. How to make sensitive paper. 3. How to prepare a polishing solution for ferrotype plates. 4. How to make a ruby lamp. 5. What is stronger water of ammonia. 6. What is bromide of ammonia.

As there are almost as many formulas for developers as there are amateur photographers, it would be quite impossible to say which one is the cheapest and best. Sir Knight William C. Davids, of Rutherford, New Jersey, sends the following formula, which he recommends very highly. We shall publish in our papers for beginners several formulas for developing solutions, with prices of chemicals.

_Hydroquinon Developer._--Sodium sulphite, 460 grains; sodium carbonate, 960 grains; hydroquinon, 96 grains; water, 16 ounces.

1. Mix and filter before using. In No. 786 will be found a simple developer for instantaneous pictures. 2. Directions for preparing sensitive paper will be found in Nos. 786 and 803. 3. Directions for polishing ferrotype plates will be found in Nos. 797 and 805.

4. A ruby light for dark-room work may be made by taking a wooden starch-box, cutting a square hole in the cover, and pasting two thicknesses of red fabric over the opening. A hole must be made in one end of the box--which answers for the top of the lantern--to allow for ventilation. This must be shielded so as to prevent the escape of actinic rays. This may be done by pieces of tin bent so that air can enter, but no white light escape. A candle should be used with this style of lantern. 5. Ammonia in its pure state is a gas which combines readily with water, water taking up of the gas five hundred times its own volume. This is liquid ammonia, or stronger water of ammonia. By diluting it with water it becomes the spirits of hartshorn, or ammonia water. 6. Bromide of ammonia is formed in the simplest manner by the addition of bromine to water of ammonia. It is very useful in photographic work. It gives great sensitiveness to gelatine and collodion emulsions--combined with pyro for a developer it prevents fog--and is employed in the preparation of sensitive papers.

[Ill.u.s.tration: THE PUDDING STICK]

This Department is conducted in the interest of Girls and Young Women, and the Editor will be pleased to answer any question on the subject so far as possible. Correspondents should address Editor.

Lillie M---- came to see me yesterday, and after she had gone, Maria G----, who was putting a new braid on my second-best gown, said:

"That Miss Lillie uses very nice perfumery. It's so faint and fine, not anything you can smell a long way off, but something which makes you think of roses or violets when she pa.s.ses you on the street. How does she manage it?"

Maria G---- likes perfumes, but does not know how to use them.

"Not by putting cologne on her handkerchief," I answered, decidedly.

"n.o.body should carry about scents poured on their garments." I had to say this.

Perfumes are used sparingly by elegant people, yet a touch, a vague sense of fragrance, does add something of daintiness to a girl's toilette. It is right for you to have perfumes about you if you love them.

Fresh rose-leaves thrown into your bureau drawers and scattered in the boxes where you keep your laces and handkerchiefs, and sprigs of lavender or lemon verbena left there to dry will impart a pleasant sweetness to whatever lies among them. Orris-root powder in little sachet bags of China silk, or strewn lightly between folds of tissue-paper, will give to your clothing in closet or wardrobe a delightful faint odor of violet. If you use delicate soap with a sweet clean perfume, not of musk or anything strong and p.r.o.nounced, and put a few drops of alcohol or ammonia in the water when you bathe, you need not be afraid of any unfavorable comment on your daintiness. Perfect cleanliness is always dainty. Soil and stain, dust and dirt, are never anything but repulsive.

Rose-leaves pulled from the perfect flower and laid in your box of note-paper when they are fresh will dry there, and insure your sending to your friends notes which will a.s.sociate you with fragrance. There is an exquisite perfume in dried roses.

How do you seal your letters, by-the-way? I hope you have at hand a bit of sponge and a tiny gla.s.s of water with which to moisten the mucilage on the flap of your envelope. Better still is a little gla.s.s cylinder in a gla.s.s jar, a very ornamental and thoroughly clean affair, which can be procured at any stationer's. The gla.s.s jar holds water. You turn the cylinder, and on its wet surface place your envelope. Postage stamps may be moistened in the same way.

When friends call, on these very sultry days, you offer them fans, do you not, and, if they wish it, a gla.s.s of cold water or lemonade?

Palm-leaf or j.a.panese fans should be in every room in profusion during the summer solstice. When fans are broken at the edges renew them by a ribbon binding, and tie a jaunty bow on the handle. Very few things should be thrown aside as useless. While an article can be mended or renovated it is worth keeping, and a thrifty person never discards a household implement of any kind until she is convinced that it is worn out.