Part 1 (1/2)

The Mansion.

by Henry Van d.y.k.e.

The Mansion

There was an air of calm and reserved opulence about the Weightman mansion that spoke not of money squandered, but of wealth prudently applied. Standing on a corner of the Avenue no longer fas.h.i.+onable for residence, it looked upon the swelling tide of business with an expression of complacency and half-disdain.

The house was not beautiful. There was nothing in its straight front of chocolate-colored stone, its heavy cornices, its broad, staring windows of plate gla.s.s, its carved and bronze-bedecked mahogany doors at the top of the wide stoop, to charm the eye or fascinate the imagination. But it was eminently respectable, and in its way imposing. It seemed to say that the glittering shops of the jewelers, the milliners, the confectioners, the florists, the picture-dealers, the furriers, the makers of rare and costly antiquities, retail traders in luxuries of life, were beneath the notice of a house that had its foundations in the high finance, and was built literally and figuratively in the shadow of St. Petronius' Church.

At the same time there was something self-pleased and congratulatory in the way in which the mansion held its own amid the changing neighborhood. It almost seemed to be lifted up a little, among the tall buildings near at hand, as if it felt the rising value of the land on which it stood.

John Weightman was like the house into which he had built himself thirty years ago, and in which his ideals and ambitions were incrusted. He was a self-made man. But in making himself he had chosen a highly esteemed pattern and worked according to the approved rules.

There was nothing irregular, questionable, flamboyant about him. He was solid, correct, and justly successful.

His minor tastes, of course, had been carefully kept up to date. At the proper time, pictures by the Barbizon masters, old English plate and portraits, bronzes by Barye and marbles by Rodin, Persian carpets and Chinese porcelains, had been introduced to the mansion. It contained a Louis Quinze reception-room, an Empire drawing-room, a Jacobean dining-room, and various apartments dimly reminiscent of the styles of furniture affected by deceased monarchs. That the hallways were too short for the historic perspective did not make much difference. American decorative art is _capable de tout_, it absorbs all periods. Of each period Mr. Weightman wished to have something of the best. He understood its value, present as a certificate, and prospective as an investment.

It was only in the architecture of his town house that he remained conservative, immovable, one might almost say Early-Victorian-Christian.

His country house at Dulwich-on-the-Sound was a palace of the Italian Renaissance. But in town he adhered to an architecture which had moral a.s.sociations, the Nineteenth-Century-Brownstone epoch. It was a symbol of his social position, his religious doctrine, and even, in a way, of his business creed.

”A man of fixed principles,” he would say, ”should express them in the looks of his house. New York changes its domestic architecture too rapidly. It is like divorce. It is not dignified. I don't like it.

Extravagance and fickleness are advertised in most of these new houses. I wish to be known for different qualities. Dignity and prudence are the things that people trust. Every one knows that I can afford to live in the house that suits me. It is a guarantee to the public. It inspires confidence. It helps my influence. There is a text in the Bible about 'a house that hath foundations.' That is the proper kind of a mansion for a solid man.”

Harold Weightman had often listened to his father discoursing in this fas.h.i.+on on the fundamental principles of life, and always with a divided mind. He admired immensely his father's talents and the single-minded energy with which he improved them. But in the paternal philosophy there was something that disquieted and oppressed the young man, and made him gasp inwardly for fresh air and free action.

At times, during his college course and his years at the law school, he had yielded to this impulse and broken away--now toward extravagance and dissipation, and then, when the reaction came, toward a romantic devotion to work among the poor. He had felt his father's disapproval for both of these forms of imprudence; but it was never expressed in a harsh or violent way, always with a certain tolerant patience, such as one might show for the mistakes and vagaries of the very young. John Weightman was not hasty, impulsive, inconsiderate, even toward his own children. With them, as with the rest of the world, he felt that he had a reputation to maintain, a theory to vindicate. He could afford to give them time to see that he was absolutely right.

One of his favorite Scripture quotations was, ”Wait on the Lord.” He had applied it to real estate and to people, with profitable results.

But to human persons the sensation of being waited for is not always agreeable. Sometimes, especially with the young, it produces a vague restlessness, a dumb resentment, which is increased by the fact that one can hardly explain or justify it. Of this John Weightman was not conscious. It lay beyond his horizon. He did not take it into account in the plan of life which he made for himself and for his family as the sharers and inheritors of his success.

”Father plays us,” said Harold, in a moment of irritation, to his mother, ”like pieces in a game of chess.”

”My dear,” said that lady, whose faith in her husband was religious, ”you ought not to speak so impatiently. At least he wins the game. He is one of the most respected men in New York. And he is very generous, too.”

”I wish he would be more generous in letting us be ourselves,” said the young man. ”He always has something in view for us and expects to move us up to it.”

”But isn't it always for our benefit?” replied his mother. ”Look what a position we have. No one can say there is any taint on our money.

There are no rumors about your father. He has kept the laws of G.o.d and of man. He has never made any mistakes.”

Harold got up from his chair and poked the fire. Then he came back to the ample, well-gowned, firm-looking lady, and sat beside her on the sofa. He took her hand gently and looked at the two rings--a thin band of yellow gold, and a small solitaire diamond--which kept their place on her third finger in modest dignity, as if not shamed, but rather justified, by the splendor of the emerald which glittered beside them.

”Mother,” he said, ”you have a wonderful hand. And father made no mistake when he won you. But are you sure he has always been so inerrant?”

”Harold,” she exclaimed, a little stiffly, ”what do you mean? His life is an open book.”

”Oh,” he answered, ”I don't mean anything bad, mother dear. I know the governor's life is an open book--a ledger, if you like, kept in the best bookkeeping hand, and always ready for inspection--every page correct, and showing a handsome balance. But isn't it a mistake not to allow us to make our own mistakes, to learn for ourselves, to live our own lives? Must we be always working for 'the balance,' in one thing or another? I want to be myself--to get outside of this everlasting, profitable 'plan'--to let myself go, and lose myself for a while at least--to do the things that I want to do, just because I want to do them.”

”My boy,” said his mother, anxiously, ”you are not going to do anything wrong or foolish? You know the falsehood of that old proverb about wild oats.”