Harriet Beecher Stowe: a biography for girlsCrow, Martha Foote
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Harriet Beecher Stowe: a biography for girls
Crow, Martha Foote
Stowe, Harriet Beecher, 1811-1896 -- Juvenile literature
It is also a matter beyond dispute that a mother with such tastes
and accomplishments as Mrs. Beecher possessed would see to it that
the education of her daughters on the artistic side should not be
neglected. And in fact there was need--at any rate we should think
so to-day. In the Litchfield Female Academy there was indeed some
instruction in art. Painting, embroidery and the piano were at that
time considered the essential things in the proper education of a young
lady. The description that _Aurora Leigh_ gives of the instruction she
received at the hands of her English aunts in the first book of Mrs.
Browning’s great poem, “Aurora Leigh,” belongs to about the same period
and will be considered sufficiently laughable by the girls of to-day.
Ideas in New England were not very different from these. In the Academy
in Litchfield they painted flowers that were delicate and stiff; they
worked samplers and coats of arms in chenille and floss; pastoral
pieces were in great favor, representing fair young shepherdesses
sitting with crooks in their hands on green chenille banks, tending
animals of uncertain description which were to be received by faith
as sheep. There were mourning pieces with a willow tree by a family
monument and weeping mourners with faces artfully concealed by flowing
pocket-handkerchiefs. The sweet confiding innocence, said Mrs. Stowe
with gentle irony in “Oldtown Folks,” which regarded the making of
objects like these as more suited to the tender female character than
the pursuit of Latin and mathematics was characteristic of the ancient
régime. Did not Penelope embroider, and all sorts of princesses,
ancient and modern? And was not embroidery a true feminine grace?[3]
We may well doubt if Harriet took much interest in these beasts of
floss and chenille and probably preferred, as we should think she
would, her childhood landscapes of gray and brown mosses. But when she
was older and could follow her home instruction in painting she gained
a skill that made sketching landscapes and other work in water color a
resource to her all her life.
Public-domain text, read in full here on John Shaqi.
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