WORCESTER

III.
BOSTON AND WORCESTER

DISCOMFORT OF TRAVEL IN AMERICA—STAGE FRIGHT IN BOSTON—BOSTONIANS INTELLIGENT AND COURTEOUS—JOHN SARGENT'S FRESCOES IN THE MUSEUM

ON the 2nd of February, next morning, my friend and secretary Mr. Horton, myself and maid arrived in Boston City after a comfortable journey in a private compartment given to us by the courtesy of our guard. I do not wish to say anything disagreeable, but except for the beauty of the railway stations, the travelling arrangements in America are far inferior to ours. Sitting erect on revolving chairs in public, is a trial not lessened by an atmosphere in which you could force pineapples. We were greeted upon our arrival by reporters and cameras. It distresses me to stand blinking at the sun; as not being a beauty, I know that my nose will always be more of a limb than a feature, and trying to look pleasant results in my teeth coming out like tombstones in the morning papers.

Left to ourselves, we went to examine the Symphony Hall, where I was to speak that night. Arriving on the stage, I stood appalled. Feeling like a midge upon a dreadnought, I looked at the largest hall I have ever seen, except the one in London erected to the sacred memory of good Prince Albert.

"This is a practical joke of the worst kind!" I exclaimed to the gentlemen in attendance, "and not for a million dollars would I insult the Boston people by making myself ridiculous here to-night. I have not been in prison, or divorced; nor have I been to the North or South Pole, or climbed mountains and Matterhorns; I have nothing wonderful to tell about, and instead of one woman shouting, 'Give me back my money—I've had enough of you,' the whole audience will rise to their feet. This is not a hall, it's a railway tunnel! I cannot see the end of it: it's made for engines or aeroplanes"; and I trembled with rage and apprehension.

"It's a concert hall, madam, built for oratorios," they replied, pointing to a vast organ decorating the wall behind me.

"No doubt drums, trumpets, or opera singers could make themselves heard, but a shrimp of a female standing alone here would make the gods laugh, and nothing will induce me to speak!"

"But, dear madam, all Boston is coming to hear you."

Mr. Horton put his arm through mine, saying soothingly, "You are tired; let us go back to the hotel."

Visibly distressed, the gentlemen of the hall assured me that men of meagre voice had lectured many times and been perfectly heard; and as I walked away I saw through the corner of my eyes that my angelic secretary was nodding to assure them that I would keep my contract.

Alone in the taxi I burst into tears, asking what I had done to be so punished; I said that the front rows would be deafened, the centre bewildered, and the balconies indignant. He assured me I had a beautiful voice, an interesting personality and a plucky nature, etc., and that I must certainly go through with it as every seat had been sold.

I dressed with streaming eyes and a scarlet nose, and in snow and silence we drove to the Symphony Hall. The platform and auditorium were crowded, and blind with fear, I walked on to the front of the stage. My chairman, Mr. Arthur Hill (Corporation Counsel of the City of Boston), in introducing me spoke with the greatest ease, and I observed that every word he said was heard; but it was obvious from the perfection of his speech that he had addressed a thousand audiences before and this was only my second public appearance.

I stood up with my knees knocking together as I looked at the sea of expectant faces below me.

Heaven forefend that I should repeat what I said, but for one hour and twenty minutes I did the best I could; beginning with my pleasure at being in America, I continued with stories of my native land, and ended with an account of Windsor Castle and the Disarmament Conference.

No president or prime minister could have had a more intelligent, friendly, courteous and responsive audience than the people of Boston. Aching from my ankles to my temples, I bowed to their repeated cheers as, humble and happy, I retired from the stage.

Enthusiastic hearers pressed into the green room where I had sunk into a chair as immovable as the mangle. Mr. Horton, who had sat among the statues on the sky line, assured me he had heard every syllable. Eager reporters began to ask what I thought of Boston, but dumb and exhausted I bundled into my cloak. Crowds of men and women were waiting in the street, and as I motored away I gathered I had been a success.

The next day Lieutenant Governor Alvin Fuller and his wife—who were among those who had congratulated me in the green room the night before—gave us lunch and took us in their motor to the two great Boston sights: the Public Library and the Fine Arts Museum.

The Library is a magnificent building, founded in 1852, containing over two million volumes, half of which are lent out for daily use at home. The architects of the building were McKim, Mead, & White of New York, but most of the design was the work of Charles Follen McKim. The mural decorations were painted by Puvis de Chavannes, Edwin Austin Abbey, and John Singer Sargent. As my time was limited I concentrated on the works of my friend Mr. Sargent.

It would be as impossible as it would be pretentious to attempt to describe the beauty of the Sargent Hall. It represents thirty years of thought and labour, and has a majesty of design, glory of drawing, and originality of conception unequalled by anything in Europe.

The "Hand-Maid of the Lord" on the east wall, holding the Divine Child in her arms, and "Our Lady of Sorrows," which faces it, fill your heart with wonder and your eyes with tears.

In the first, the Blessed Virgin is rising from a throne with her baby in her arms. You realise in looking at this Child that He is the Mighty God and Everlasting Father; and the expression on the face of the Virgin—more than of any other Madonna that I have ever seen—convinces you that she was not only the Mother of the Counsellor upon whose shoulders the Government would fall, but the Mother of the Prince of Peace.

The Virgin in "Our Lady of Sorrows" stands upon the crescent moon behind a row of lighted candles raised in relief of white, gold and silver. Her little face with wide-set eyes looks down upon you from an elaborate silver crown set against a radiant halo of fine and illusive design, and her two beautiful hands clasp to her heart the shining swords that typify the Seven Sorrows. The dignity of her pose, the submission and pathos of her haunting eyes waken you to a new sense of the majesty of pain. I felt, as I looked up, that I was sharing a common gratitude that such subjects should have captured the genius of the greatest living artist.

We went on from the Library to the Museum, where the decorations of the dome of the rotunda, to say nothing of the exterior of the buildings, are magnificent. Here Mr. John Sargent has surpassed himself.

I have heard critics, for want of something better to say, express the opinion that he is a finer painter than artist. If they have any doubt upon the subject, let them go to Boston, and if teachable, they will learn there that Sargent is not only a rare artist, but a poet and an architect.

Before leaving Boston City I received a call from Mrs. Bancroft, an old lady of eighty, with whom I made friends. She was extremely clever,