At least, thought Bok, he had healed one man's soreness toward America.

But the next day he encountered another. On his way to Paris, he stopped at Amiens to see Jules Verne. Here he found special difficulty in that the aged author could not speak English, and Bok knew only a few words of casual French. Finally a neighbor's servant who knew a handful of English words was commandeered, and a halting three-cornered conversation was begun.

Bok found two grievances here: the author was incensed at the American public because it had insisted on cla.s.sing his books as juveniles, and accepting them as stories of adventure, whereas he desired them to be recognized as prophetic stories based on scientific facts--an insistence which, as all the world knows, has since been justified. Bok explained, however, that the popular acceptance of the author's books as stories of adventure was by no means confined to America; that even in his own country the same was true. But Jules Verne came back with the rejoinder that if the French were a pack of fools, that was no reason why the Americans should also be.

The argument weighed somewhat with the author, however, for he then changed the conversation, and pointed out how he had been robbed by American publishers who had stolen his books. So Bok was once more face to face with the old non-copyright conditions; and although he explained the existence then of a new protective law, the old man was not mollified. He did not take kindly to Bok's suggestion for new work, and closed the talk, extremely difficult to all three, by declaring that his writing days were over.

But Bok was by no means through with non-copyright echoes, for he was destined next day to take part in an even stormier interview on the same subject with Alexander Dumas _fils_. Bok had been publishing a series of articles in which authors had told how they had been led to write their most famous books, and he wanted Dumas to tell "How I Came to Write 'Camille.'"

To act as translator this time, Bok took a trusted friend with him, whose services he found were needed, as Dumas was absolutely without knowledge of English. No sooner was the editor's request made known to him than the storm broke. Dumas, hotly excited, denounced the Americans as robbers who had deprived him of his rightful returns on his book and play, and ended by declaring that he would trust no American editor or publisher.

The mutual friend explained the new copyright conditions and declared that Bok intended to treat the author honorably. But Dumas was not to be mollified. He launched forth upon a new arraignment of the Americans; dishonesty was bred in their bones! and they were robbers by instinct.

All of this distinctly nettled Bok's Americanism. The interpreting friend finally suggested that the article should be written while Bok was in Paris; that he should be notified when the ma.n.u.script was ready, that he should then appear with the actual money in hand in French notes; and that Dumas should give Bok the ma.n.u.script when Bok handed Dumas the money.

"After I count it," said Dumas.

This was the last straw!

"Pray ask him," Bok suggested to the interpreter, "what a.s.surance I have that he will deliver the ma.n.u.script to me after he has the money." The friend protested against translating this thrust, but Bok insisted, and Dumas, not knowing what was coming, insisted that the message be given him. When it was, the man was a study; he became livid with rage.

"But," persisted Bok, "say to Monsieur Dumas that I have the same privilege of distrusting him as he apparently has of distrusting me."

And Bok can still see the violent gesticulations of the storming French author, his face burning with pa.s.sionate anger, as the two left him.

Edward Bok now sincerely hoped that his encounters with the absence of a law that has been met were at an end!

Rosa Bonheur, the painter of "The Horse Fair," had been represented to Bok as another recluse who was as inaccessible as Kate Greenaway. He had known of the painter's intimate relations with the ex-Empress Eugenie, and desired to get these reminiscences. Everybody dissuaded him; but again taking a French friend he made the journey to Fontainebleau, where the artist lived in a chateau in the little village of By.

A group of dogs, great, magnificent tawny creatures, welcomed the two visitors to the chateau; and the most powerful door that Bok had ever seen, as securely bolted as that of a cell, told of the inaccessibility of the mistress of the house. Two blue-frocked peasants explained how impossible it was for any one to see their mistress, so Bok asked permission to come in and write her a note.

This was granted; and then, as in the case of Kate Greenaway, Rosa Bonheur herself walked into the hall, in a velvet jacket, dressed, as she always was, in man's attire. A delightful smile lighted the strong face, surmounted by a shock of gray hair, cut short at the back; and from the moment of her first welcome there was no doubt of her cordiality to the few who were fortunate enough to work their way into her presence. It was a wonderful afternoon, spent in the painter's studio in the upper part of the chateau; and Bok carried away with him the promise of Rosa Bonheur to write the story of her life for publication in the magazine.

On his return to London the editor found that Charles Dana Gibson had settled down there for a time. Bok had always wanted Gibson to depict the characters of d.i.c.kens; and he felt that this was the opportunity, while the artist was in London and could get the atmosphere for his work. Gibson was as keen for the idea as was Bok, and so the two arranged the series which was subsequently published.

On his way to his steamer to sail for home, Bok visited "Ian Maclaren,"

whose Bonnie Brier Bush stories were then in great vogue, and not only contracted for Doctor Watson's stories of the immediate future, but arranged with him for a series of articles which, for two years thereafter, was published in the magazine.

The editor now sailed for home, content with his a.s.sembly of foreign "features."

On the steamer, Bok heard of the recent discovery of some unpublished letters by Louisa May Alcott, written to five girls, and before returning to Philadelphia, he went to Boston, got into touch with the executors of the will of Miss Alcott, brought the letters back with him to read, and upon reaching Philadelphia, wired his acceptance of them for publication.

But the traveller was not at once to enjoy his home. After only a day in Philadelphia he took a train for Indianapolis. Here lived the most thoroughly American writer of the day, in Bok's estimation: James Whitcomb Riley. An arrangement, perfected before his European visit, had secured to Bok practically exclusive rights to all the output of his Chicago friend Eugene Field, and he felt that Riley's work would admirably complement that of Field. This Bok explained to Riley, who readily fell in with the idea, and the editor returned to Philadelphia with a contract to see Riley's next dozen poems. A little later Field pa.s.sed away. His last poem, "The Dream Ship," and his posthumous story "The Werewolf" appeared in The Ladies' Home Journal.

A second series of articles was also arranged for with Mr. Harrison, in which he was to depict, in a personal way, the life of a President of the United States, the domestic life of the White House, and the financial arrangements made by the government for the care of the chief executive and his family. The first series of articles by the former President had been very successful; Bok felt that they had accomplished much in making his women readers familiar with their country and the machinery of its government. After this, which had been undeniably solid reading, Bok reasoned that the supplementary articles, in lighter vein, would serve as a sort of dessert. And so it proved.

Bok now devoted his attention to strengthening the fiction in his magazine. He sought Mark Twain, and bought his two new stories; he secured from Bret Harte a tale which he had just finished; and then ran the gamut of the best fiction writers of the day, and secured their best output. Marion Crawford, Conan Doyle, Sarah Orne Jewett, John Kendrick Bangs, Kate Douglas Wiggin, Hamlin Garland, Mrs. Burton Harrison, Elizabeth Stuart Phelps, Mary E. Wilkins, Jerome K. Jerome, Anthony Hope, Joel Chandler Harris, and others followed in rapid succession.

He next turned for a moment to his religious department, decided that it needed a freshening of interest, and secured Dwight L. Moody, whose evangelical work was then so prominently in the public eye, to conduct "Mr. Moody's Bible Cla.s.s" in the magazine--practically a study of the stated Bible lesson of the month with explanation in Moody's simple and effective style.

The authors for whom the Journal was now publishing attracted the attention of all the writers of the day, and the supply of good material became too great for its capacity. Bok studied the mechanical make-up, and felt that by some method he must find more room in the front portion. He had allotted the first third of the magazine to the general literary contents and the latter two-thirds to departmental features.

Toward the close of the number, the departments narrowed down from full pages to single columns with advertis.e.m.e.nts on each side.

One day Bok was handling a story by Rudyard Kipling which had overrun the s.p.a.ce allowed for it in the front. The story had come late, and the rest of the front portion of the magazine had gone to press. The editor was in a quandary what to do with the two remaining columns of the Kipling tale. There were only two pages open, and these were at the back. He remade those pages, and continued the story from pages 6 and 7 to pages 38 and 39.

At once Bok saw that this was an instance where "necessity was the mother of invention." He realized that if he could run some of his front material over to the back he would relieve the pressure at the front, present a more varied contents there, and make his advertis.e.m.e.nts more valuable by putting them next to the most expensive material in the magazine.

In the next issue he combined some of his smaller departments in the back; and thus, in 1896, he inaugurated the method of "running over into the back" which has now become a recognized principle in the make-up of magazines of larger size. At first, Bok's readers objected, but he explained why he did it; that they were the benefiters by the plan; and, so far as readers can be satisfied with what is, at best, an awkward method of presentation, they were content. To-day the practice is undoubtedly followed to excess, some magazines carrying as much as eighty and ninety columns over from the front to the back; from such abuse it will, of course, free itself either by a return to the original method of make-up or by the adoption of some other less-irritating plan.

In his reading about the America of the past, Bok had been impressed by the unusual amount of interesting personal material that const.i.tuted what is termed unwritten history--original events of tremendous personal appeal in which great personalities figured but which had not sufficient historical importance to have been included in American history. Bok determined to please his older readers by harking back to the past and at the same time acquainting the younger generation with the picturesque events which had preceded their time.

He also believed that if he could "dress up" the past, he could arrest the attention of a generation which was too likely to boast of its interest only in the present and the future. He took a course of reading and consulted with Mr. Charles A. Dana, editor of the New York Sun, who had become interested in his work and had written him several voluntary letters of commendation. Mr. Dana gave material help in the selection of subjects and writers; and was intensely amused and interested by the manner in which his youthful confrere "dressed up" the t.i.tles of what might otherwise have looked like commonplace articles.

"I know," said Bok to the elder editor, "it smacks a little of the sensational, Mr. Dana, but the purpose I have in mind of showing the young people of to-day that some great things happened before they came on the stage seems to me to make it worth while."

Mr. Dana agreed with this view, supplemented every effort of the Philadelphia editor in several subsequent talks, and in 1897 The Ladies'

Home Journal began one of the most popular series it ever published. It was called "Great Personal Events," and the picturesque t.i.tles explained them. He first pictured the enthusiastic evening "When Jenny Lind Sang in Castle Garden," and, as Bok added to pique curiosity, "when people paid $20 to sit in rowboats to hear the Swedish nightingale."

This was followed by an account of the astonishing episode "When Henry Ward Beecher Sold Slaves in Plymouth Pulpit"; the picturesque journey "When Louis Kossuth Rode Up Broadway"; the triumphant tour "When General Grant Went Round the World"; the forgotten story of "When an Actress Was the Lady of the White House"; the sensational striking of the gold vein in 1849, "When Mackay Struck the Great Bonanza"; the hitherto little-known instance "When Louis Philippe Taught School in Philadelphia"; and even the lesser-known fact of the residence of the brother of Napoleon Bonaparte in America, "When the King of Spain Lived on the Banks of the Schuylkill"; while the story of "When John Wesley Preached in Georgia" surprised nearly every Methodist, as so few had known that the founder of their church had ever visited America. Each month picturesque event followed graphic happening, and never was unwritten history more readily read by the young, or the memories of the older folk more catered to than in this series which won new friends for the magazine on every hand.

XXI. A Signal Piece of Constructive Work

The influence of his grandfather and the injunction of his grandmother to her sons that each "should make the world a better or a more beautiful place to live in" now began to be manifest in the grandson.

Edward Bok was unconscious that it was this influence. What directly led him to the signal piece of construction in which he engaged was the wretched architecture of small houses. As he travelled through the United States he was appalled by it. Where the houses were not positively ugly, they were, to him, repellently ornate. Money was wasted on useless turrets, filigree work, or machine-made ornamentation. Bok found out that these small householders never employed an architect, but that the houses were put up by builders from their own plans.

Bok felt a keen desire to take hold of the small American house and make it architecturally better. He foresaw, however, that the subject would finally include small gardening and interior decoration. He feared that the subject would become too large for the magazine, which was already feeling the pressure of the material which he was securing. He suggested, therefore, to Mr. Curtis that they purchase a little magazine published in Buffalo, N. Y., called Country Life, and develop it into a first-cla.s.s periodical devoted to the general subject of a better American architecture, gardening, and interior decoration, with special application to the small house. The magazine was purchased, and while Bok was collecting his material for a number of issues ahead, he edited and issued, for copyright purposes, a four-page magazine.

An opportunity now came to Mr. Curtis to purchase The Sat.u.r.day Evening Post, a Philadelphia weekly of honored prestige, founded by Benjamin Franklin. It was apparent at once that the company could not embark upon the development of two magazines at the same time, and as a larger field was seen for The Sat.u.r.day Evening Post, it was decided to leave Country Life in abeyance for the present.

Mr. Frank Doubleday, having left the Scribners and started a publishing-house of his own, asked Bok to transfer to him the copyright and good will of Country Life--seeing that there was little chance for The Curtis Publishing Company to undertake its publication. Mr. Curtis was willing, but he knew that Bok had set his heart on the new magazine and left it for him to decide. The editor realized, as the Doubleday Company could take up the magazine at once, the unfairness of holding indefinitely the field against them by the publication of a mere copyright periodical. And so, with a feeling as if he were giving up his child to another father, Bok arranged that The Curtis Publishing Company should transfer to the Doubleday, Page Company all rights to the t.i.tle and periodical of which the present beautiful publication Country Life is the outgrowth.

Bok now turned to The Ladies' Home Journal as his medium for making the small-house architecture of America better. He realized the limitation of s.p.a.ce, but decided to do the best he could under the circ.u.mstances.

He believed he might serve thousands of his readers if he could make it possible for them to secure, at moderate cost, plans for well-designed houses by the leading domestic architects in the country. He consulted a number of architects, only to find them unalterably opposed to the idea.

They disliked the publicity of magazine presentation; prices differed too much in various parts of the country; and they did not care to risk the criticism of their contemporaries. It was "cheapening" their profession!

Bok saw that he should have to blaze the way and demonstrate the futility of these arguments. At last he persuaded one architect to co-operate with him, and in 1895 began the publication of a series of houses which could be built, approximately, for from one thousand five hundred dollars to five thousand dollars. The idea attracted attention at once, and the architect-author was swamped with letters and inquiries regarding his plans.

This proved Bok's instinct to be correct as to the public willingness to accept such designs; upon this proof he succeeded in winning over two additional architects to make plans. He offered his readers full building specifications and plans to scale of the houses with estimates from four builders in different parts of the United States for five dollars a set. The plans and specifications were so complete in every detail that any builder could build the house from them.

A storm of criticism now arose from architects and builders all over the country, the architects claiming that Bok was taking "the bread out of their mouths" by the sale of plans, and local builders vigorously questioned the accuracy of the estimates. But Bok knew he was right and persevered.

Slowly but surely he won the approval of the leading architects, who saw that he was appealing to a cla.s.s of house-builders who could not afford to pay an architect's fee, and that, with his wide circulation, he might become an influence for better architecture through these small houses.

The sets of plans and specifications sold by the thousands. It was not long before the magazine was able to present small-house plans by the foremost architects of the country, whose services the average householder could otherwise never have dreamed of securing.

Bok not only saw an opportunity to better the exterior of the small houses, but he determined that each plan published should provide for two essentials: every servant's room should have two windows to insure cross-ventilation, and contain twice the number of cubic feet usually given to such rooms; and in place of the American parlor, which he considered a useless room, should be subst.i.tuted either a living-room or a library. He did not point to these improvements; every plan simply presented the larger servant's room and did not present a parlor. It is a singular fact that of the tens of thousands of plans sold, not a purchaser ever noticed the absence of a parlor except one woman in Brookline, Ma.s.s., who, in erecting a group of twenty-five "Journal houses," discovered after she had built ten that not one contained a parlor!

"Ladies' Home Journal houses" were now going up in communities all over the country, and Bok determined to prove that they could be erected for the prices given. Accordingly, he published a prize offer of generous amount for the best set of exterior and interior photographs of a house built after a Journal plan within the published price. Five other and smaller prizes were also offered. A legally attested builder's declaration was to accompany each set of photographs. The sets immediately began to come in, until over five thousand had been received. Bok selected the best of these, awarded the prizes, and began the presentation of the houses actually built after the published plans.