Porcelain -- Collectors and collecting -- United States; Pottery -- Collectors and collecting -- United States
We have visited again and again one gray old farm-house in
Massachusetts, a farm-house with moss-covered “lean-to,” which we know
contains enough old English pottery and porcelain to found a museum; but
cajoleries, flatteries, persuasions, open demands, elaborate
explanations, and assumptions of indignant and hurt astonishment at
refusals—one and all are in vain; not even one old plate have we ever
seen. The farmer’s wife greets us most cordially, gives us doughnuts and
milk in summer, and apples and cider in the winter, maple-sugar in the
spring, and hickory-nuts and butter-nuts in the fall, but in
aggressively modern pitchers and dishes; and when we leave she urges us
hospitably and warmly to “come again.” We know well where her precious
china is hidden. High up on either side of the great mantelpieces in
“living-room” and “best room” are cupboards, so high that one would have
to climb upon a chair to see into them; and from the good wife’s
frequent and furtive glances—speaking though silent—at her locked
cupboard doors, we know well what treasures are stored therein.
At that china-hiding abode we often have concocted for us an old-time
country drink, composed of water flavored with molasses and ginger,
which was in Revolutionary times called “beveridge.” Gallons of that
vile fluid have I drunk with the hostess, hoping that the joys of the
flowing bowl might loosen her tongue and unlock her cupboard doors, but
I have risked my digestion in vain. Still I sit “smiling with millions
of mischief in the heart,” for life is short, and I am waiting, wickedly
waiting; the farmer and his wife are old, very old, and when they depart
from this life they cannot take their keys and crockery with them.
Public-domain text, read in full here on John Shaqi.
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